Christopher Reid
LandE scape
CONTEMPORARY ART REVIEW
this piece, I enjoyed watching people go back and forth looking at it from 3 inches away and then from clear across the room.
I was also thinking about time and the longer reach of memory as it slips away and becomes part of history. That cliché about large quantities of time passing in the blink of an eye and what seems to have happened recently is suddenly a part of history.
My work doesn’ t offer a narrative to overcome— at least not intentionally. I am attempting to point towards an escape from binaries where what is left is a Hield of competing and conHlicting truths and where multiple perspectives render history in the plural in ways that are entangled with our perspective of present reality.
As you have remarked once, you like to use materials that have a historical fingerprint to make an unexpected contemporary statement: the way you to capture non-sharpness with an universal kind of language quality marks out a considerable part of your production, that are in a certain sense representative of the relationship between emotion and memory. How would you define the relationship between real and unreal, between abstraction and representation in your practice? In particular, how do figurative and a tendency towards abstraction find their balance in your work?
Thinking about the real and unreal is a particularly poignant question as I am responding to this within days of the US presidential election of Donald Trump— a scenario that I could not imagine would become a reality. Further more the meaning of his slogan“ lets make America
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