Where the binary system is not in opposition rather such critical concepts are confronted by our installations. We manipulate toys and domestic utensils so such objects become our subjects in the narrative of our work.
For example, is a hall a room?
It's a place where people pass through enroute to their destination. There is a table , a chair, a carpet, a mirror. This furniture has been placed, maintained and kept clean. However, at a glance we form a view of the person who lives in a house like this. Their coming and going, and to-ing and fro-ing consume us. This hall, like a gallery space, is where people pass forming views of the objects they see. Here lies the crux of our work.
Dans la Maison nous sommes arrive au lavoir (Lavoir is a public place in France set aside for the washing of clothes). This is our phantasmatic place.
So how do you view?
A room has no view.
You leave traces of you as you pass.
As a viewer you consider these traces as you pass.
You make judgements based on your passing.
You bring your own experiences as you pass and view.
OR
Do you defer to the person who might inhabit the room to form your views.
Well, our room has views.
We are creating an empire of filth.
We are looking beyond the extraordinary to see the ordinary.
It has critical understanding to confront everyday experience.
It has binary sympathies.
It has opposition at its core.
It has consideration of the dusty, the sticky and the greasy.
Seeing beauty in dirt and ugliness in decoration is compelling.
Decay and detritus are decorative in our crass and messy aesthetic.
We play.
We manipulate.
We subjugate the objects we have manipulated.
We are Emperors of Phantasm.
WE ARE JOYFUL
