> 360 samples from works in the UCL Art collection were re-printed on Somerset inkjet paper. Excerpts were selected to be representative of the artists’ original mark. A hundred people (mostly artists at the Slade) were asked to choose a sample and respond to the mark with one or several marks of their own in any colour and medium. The first 60 samples to be returned are displayed on museum board, in a format inspired by old colour sample cards, together with the names given by the contemporary contributors and the catalogue numbers of the original works. > The work wishes to question the romantic notion of the artist’s hand as the basis for value systems within the museum archive. Some of the works in the UCL art collection are by renowned artists, others are anonymous, yet all are given the same treatment here. Ideas of transference, preciousness, copyright, individuality, originality, digital reproduction and of the collectable are explored. > The project is on-going and the public are invited to contribute their own marks to the collection.
> Interference was first shown as part of the exhibition Moreover on three archive boards in the UCL Museum, displayed in an original museum display case which was restored and fitted with electric strip lighting especially for the exhibition of this work:
> The work keep growing and was shown again as part of the degree show at the Slade under a window in the entrance hall of the school:
> By the time the work filled 6 frames, it was shown at the Q-Art exhibition in hand-made frames stained to match the wood of the display cases.
> The work was shown again in the corridors of an old school in Rye where all frames got to hand side by side for the first time. This is the only work of mine which I enjoy showing on a magnolia wall:
> This work keeps growing (there are enough samples that have been returned to fill another couple of frames. So far, it has been shown in the following exhibitions:
> Details:
> Related work:
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