Intervention Books > While my book Layers (see below) travels the world to 20 different artists, I have been receiving books with different titles in which I have contributed. Above is one of my works for 'History Repeating': a circular sample from an old painting together with a printout of a scan of the same sample. The work is of course completely negated when on a website. > Because these are added to other people's books, they have to have more autonomy than entries into my own sketchbook, forcing me to finish something on a different theme every three week. > For the book 'The Other':
> Text for 'The Other' entry: As a painter interested in the mark, the layering of paint, glazes and varnishes, the marks of painters past and present; in the phenomemology of paint as pigment bound by medium; and in colour as demarcation of adjoining and sometimes merging surfaces - all to the point of having discarded the represented image in favour of endless reproductions of the gestures of the painters around me - the other is, logically, a representational black line drawing. And because the logic of the scientist and art theory underpins all I do in my practice, I have also attempted to throw both of those to the wind and have drawn all that comes to mind without critical judgement. Instead, I recognise the legacy of Dubuffet's Art Brut Collection in Lausanne - a unique collection of other (or outsider) artists whose only commonality is that they have received no formal art education. And throughout the drawing this word, the other, in my mind. It generates decorative patterns, a naked woman, genitalia, tattoos, pirates, a man with hairy legs, a tiered cream cake, opulent jewelry, feathers of the dreaded pigeon, a snake and scaley lizard, a gilded frame, a forked tongue, a beard and moustaches, smileys, a dead fish, a shrunk head, a monocle, deep oceans, giant waves, long unruly hair, masks and heavy make-up, algae, weeds, a ship at sea, constellations and astronomy. All things I am drawn to and fascinated by but also fill me with either a bit of revulsion or a little fear. For Levinas, the other is the difference between the saying and the said. More generally, in philosophy, the other can be taken just to be silence. > Entry for book 'Juxtaposition'. Macrophotograph of an old anonymous etching and of my studio shoe.
> Related work:
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