Public art 101.
Death, mortality, fear, preservation and elevation.
The aim is to direct my public art piece toward “the cost of living”- metaphor.
A kind of play on what our real cost is to live……and/or what price we are prepared to pay? Surgery, medical, pharmaceutical, preservation. I want to highlight our innate human resilience regarding mortality, be it our very own or that of ones we adore. also I endeavour to tie in my empathy for inanimate objects, and the human compassion and connection we hold for objects of memory and emotion. We as a nation, and through numerous generations have demonstrated our need for existence/clarity/closure/significance.
I aim to highlight the real costs of our existence whether it be time, sanity, soul, or simply monetary. Media more so in our generation is a voyeur for the trends, compulsions and needs of the super rich. surgery, modern medicine, cosmetics and fashion all drive the preservation train. Leaving the lower classes to rely as ancestors have before them, on instinct, religion, folk law, education and time. Yet without global media and surgical precision the Victorians turned to developing science, philosophy and the arts to demonstrate there fascination with death and preservation.
The Victorians are an influence to behold on their complete indignation of death and are great advocates of preserving life through photographic media. There is a unique, eerie quality to their approach, but it’s still only perusing the ultimate unanswered question of death and it’s enigma. They where fascinated with concepts, and in the dawning of new industry strove to define existence, meddled with wives tales and turned their persistence into ultimate artistic beauty. We see examples in the photo documentation above, the discoveries in surgery and modern science, yet they still fought infant mortality, low life expectancy and the full weight of religious belief. Stories where written of life giving through science and mechanics, macabre creatures that evaded death, walked the shadows of life and death, and evoked the long secret thoughts of generations past.
I want my art to speak similar languages to that of the Victorians, develop and build on what yet we cease to understand, what still we refuse to except, and most of all to be unique, conceptual, and in dedication to the YBA’s a “short sharp, shock art yet realist” piece that can and will be informative yet decisive, emotional yet truthful, and above all my cognition.