by Barwellian » Sun Jul 17, 2011 8:41 pm
Hi Dave, All,
I have spent all my life as a practicing artist and lecturing in Art and Design but fail to see how heating up a campo and beating the hell out of it till its flat turns it into art. The final result resembles a slice which I would argue would be the way to go to produce something far more aesthetic with a much deeper message when positioned amongst the artefacts.. perhaps it demonstrates his lack of understanding or perhaps just my lack of understanding about what he is trying to say by doing what he does.
This is what he says....
“His intervention is to shape it again – to shift it beyond its pummelled splinter of iron that spun through the cold dark universe to fall ablaze 6,000 years ago.”
There are darker, more spiritual concepts at play here. Local tribes who witnessed the fall-out named the site Campo Del Cielo (the Field of Heaven), and Galphin is an admirer of the transcendental and seemingly impossible.
His previous works have used white noise recorded in Antarctica, frozen ink and salt water collected at the dead sea and breath collected from light trapped in peoples’ mouths.
He reflects the imperfection of these reformed lumps of metal, and their alien status forces us to reflect, in turn, on the enormity of the universe.
Set in the museum’s Cosmos and Culture and Measuring Time galleries, the emergence of this mysterious installation is timed to coincide with the museum’s summer space season.
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Most of my recent own work involves changing existing objects and investigating aspects of time in large scale installations which might be quite challenging for some....but in this particular piece by him I have difficulty seeing how what he has done says any more than a natural slice....it is the context in which they are displayed that seems important to me.
Graham