This piece is a reconstruction of my largest work. ‘A Question in Painting’ was a 9m painting stretched onto the floor. The viewers often walked on it before realising where the work was.
Installing the work destroyed it. The installation involved screwing through the canvas, it could be shown again but it would lose size with every installation.
The exhibition was rainy, the visitors added marks and wear to the surface. With it's continuing use it collects more.
It can be seen to reference it's creation and curation.
It was shown unfurled in an exhibition in London. Shown as if in process of being installed.
It has been stored, rolled, since the exhibition.
This form restricts the artwork further. Showing none of the surface and only a small section of the reverse.
Some marks are visible. I've been considering whether this is important. If the form is the important factor, and it's materiality as canvas, then an unused roll would work. And yet there is something added in the obvious use of the canvas. It becomes something unshown, rather than something unused.
In this form I see a small figure, sitting cross legged. I'm not sure if other see this, and I wouldn't want to encourage them too. Once the canvas had a presence, in my mind, I couldn't remove it wouldn't destroying it's form.
The edge of the canvas has been cut, an arduous process that was far from smooth. The result is a ragged edge, the shadows and edges showing the reality of the flat canvas.
There is something utterly evocative about this object.
Showing it alone and with other forms - this needs work. More tests ongoing.
This work is unfinished.