Smizz’s artistic statement of intentions!

SO YEAH

I’m getting alot of hits these days for my photo montages. 

I bet alot of you are actually wondering what they are all about?

Well here is an institutionally written up to dat artist statement for my whole art practice.

Check it

 

 

Architectural Entropy ////////// RE-Sampling Space ///// Space Production

Artistic Statement of Intent.

 

As in any area connected with the growth of neighbourhoods in big cities, the transformation of its streets and the services offered are part of the fabric formed by its inhabitants.

 

I think of Robert Smithson when he once referred to something called ‘architecture of entropy’.  The idea of entropy comes from our understanding of a mathematical equation that permits us to measure the degree to which physical matter disarranges itself with the passage of time. The same definition can be applied to our current architectural regeneration era.

 

Interested in not exactly the situation itself but in the flow of communication in the spaces between, my practice could be described as a gathering of “evidence” and a dialogical exchange about a wealth anaemic and physically damaged world of questions that surround poverty, public space and urban planning.

 

My practice is primarily concerned with the fundamental question of how one can create social space in the city and presents a critique of the social values of architecture as spectacle. I create work through a process that resonates my experiences as a city resident, a flaneur, a victim of homelessness and a street artist. The outcome of many artworks metamorphoses into other spaces to accommodate a new position with the social self and its relevance to the topic on the liveability of cities, whilst also many pieces point to the questions of the power of the resident versus the gentrificator.

 

Combining a practice full of photographs of luxurious ruined landscapes, wall-size drawings of tangled celebration and energetic cities and animation performances on the street, I try to elegantly portray a future that simultaneously bears the repercussions of a capitalist present and the residue of a production of our own space within an industrial past.

 

Applying the ‘New York New York  [Las Vegas hotel]’ formula to Sheffield I try to clue into the exposure of the discontinuations in the systems that surround us, the gaps and the relationships among them.  The action of importing loaded spaces and buildings into bleak environments is a conscious decision to explore the commodity and emphasis a promise, or rather the missing promise.

 

In the collages (untitled/shadow cities/favela nice) of luxurious slums my engagement with partially recycled imagery- both banal and iconic – shows that we are starting from a pre-existing reality. The images propose a radical restructuring of constructability, improving precarious conditions of habitability. The deconstruction and construction of history and the implication of the new sort of social space is created, if only in one moment.

 

Working from the philosophies and writings of Henri Lefebvre, Slum urban planning and Situationism, I try to bring to the table questions of: how do we create our own space; thus ‘the production of space’, and the ownership of it, and the aesthetics of poverty.

 

Always acting with the city and its streets in mind, my practice is the do-it-yourself art that uses the barest of means to comment on the joys and perils of urban poverty – such as the asphalt or fly posters. Becoming an interventionist artist, my work seeks to provoke a dialogue about all of these themes in the political economy of the 2000’s world, not just societal but also within the art world.

 

Theorist Stephen Wright describes the interventionist as an ontological secret agent who is forced to don multiple identities: artist/activist, theorist/practitioner, participant/viewer, organizer/organized.  No doubt the interventionist curator will find such ontological fabrication indispensable.

 

The work is often pasted upon walls, or interacts, outside the gallery. It needs the passer-by audience to exist; the ephemeral outlet mirrors its situation exactly.  The illegal action of postering then becomes much like the territorialization question of space. Who owns it?

And ultimately how can the interaction with this idea of ‘the production of space’ lead to revolutionary actions.

 

 

 

 


‘Instead of causing us to remember the past like the old monuments [architecture], the new monuments seem to cause us to forget the future…..Both past and future are placed into an objective present…. it [architecture] is going nowhere.’ – unpublished Writings in Robert Smithson: The Collected Writings, edited by Jack Flam, published University of California Press, Berkeley, California, 2nd Edition 1996

 

 

Stephen Wright, unpublished paper presented at the Townhouse Gallery, Cairo Egypt, December 13, 2005.

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