public art

It’s not possible to speak the whole words

movements and actions suggest a direction inside

Public art was always the angle as a concept of a means of producing the location of the artwork, as much as the work was always a coding of actual locations, particularly in the plotted cluster of vignettes which scored the landscape as folklore, those stories ensconced in stone moments of dramatic turbulence set amid subterranean river sequences and shallow plateaus surrounding the Mersey’s northern shores .

Public in the sense that the art isn’t specialised towards a school and is ignorant of the idea of a clientele arrangement, has no known brand identity, and has taken decades of slow development unmediated and outside normal transactional art networks. So the aesthetic has become actually DIY of it’s own accord and nature, rather than a previous concept of something being aesthetically derived from established DIY forms such as the fanzine.

The one brand that I did name and identify with in the late 90s was ‘Duration Painting’ which back then was applied to film as paintings bound by duration, but equally looking at binding painting to lengthy durations with novel materials, media and storage possibilities. Time, if you can call it that, wrote glorious songs of decay on these surfaces, some of which are decades old, some predate the project’s first coalescence at the end of the 20th century, and all have found their form in this duration of quiet.

In the hollows where importuning personas habitually sculpt their presence there is nothing but hollow, no artist nor instruction of how to make one.

‘Weder Seele noch Wurst’