The 'Trashed Triptych' This drawing is the first in a series of three. This series seeks to explore the notions of the 'New Flesh' whilst using the traditional language of the religious triptych. 'New Flesh' is the expression used to describe the changes that technology inflicts on the body. Tech-nologies expand our limited natural bodily dexterity allowing us to perceive and manipulate scales of matter far larger and smaller than we could naturally. This first piece depicts the 'Hell' of our contemporary existence on an inert, polluted planet in fear of bodily decay and finally death.
'The Martyrdom of Saint Sebastian' The saint's impassivity, serenity and detachment as the technological arrows sear his flesh. The Saint Sebastian of today is all that Dali's and the Renaissance's aren't, porous not impervious, vacillating not static and networked, not detached. The new virtual, vital, viral and visceral spaces within which the new objects will operate will be infinite, variegated, variform, ventral, varicose, vitrified, vomiting, velutinous, venereal, versicoloured, ventripotentant, vascular and versatile.
'Nativity in Black' Here is the fleshed cage is eroded and pulled this way and that on its rickety orthogonal frame, as the figure at its base dances. This is where technology has lead us. Behold our true face at the turn of the millennium. 'Figures at the base of a crucifixion'. These figures are inspired by Francis Bacon, Salvador Dali and alchemic alembics, on the floor of a ubiquitous room. 'Deformed palette and Eclipsed frame' The viscera is pulled to breaking point, under a false sun, to be raw material on a deformed palette.
1. From Genesis to Genocide
2. Saint Sebastian
3. Nativity in Black