Romanticized Objects From Drunken Nights
An inebriated state is one of unawareness, when inhibitions are dulled into misty ambiguity. Yet, alongside this un-sharpening of the edges, the drunk is well conscious of and acknowledges being in this state. It is a strange duality of being unconscious at some level and being conscious of this level of non-consciousness.
The objects in 'Romanticized Objects from Drunken Nights' were birthed during moments of this dual state, a state that is utterly fluid and constantly moving back and forth from one to the other. Objects contain value - they possess an exchange value, some emotional qualification, some cultural value, some political and social worth and so on. The encounters between these inherent or perceived values in turn become the final, visible object.
Each material used in the works have much baggage associated with them, be it cultural, historical, geographical or otherwise. The many conflicts that the objects - as finished works or as the sum of the parts of materials + their many meanings - bring to the table, emote with each other, and the conflicts that emerge there give rise to something new - the whole show itself. From the conflicts between individual conflicts emerge a newer, larger, composite baggage which is opaque, ambiguous, dual and fluid, much like the state of mind during debauched drunken nights. The geometrical shapes of the works require precise measurements, focus and a degree of perfection. The decision to create objects that demand perfect controlled measurements is a redemptive act for these many drunken nights. It is more an acknowledgement of this two-part state though than an apology for being a participant in it.
This dreamlike state occurs after sundown, and nights invoke a personal space of reflection, memory and quietude. In the romance of such nights objects are often re-imagined, recreated, re-birthed and excessively romanticized
