My work was shown as part of an exhibition accompanying a conference on the conception of Minimalism.
The relationship of my work to Minimalist practice comes out of an interest in affect, or I should say ‘affectlessness’ within the experience of works of art. Flatley speaks to the work of Judd (and then Warhol) vis-a-vis ‘a cool, non- composed, affectless art to which “meaning” is difficult to attribute’. It is in this ‘affectlessness’, however, that the viewer can access a space in which to experience the affect inherent in everyday life. In Fried’s terms we might speak of a literalness that, devoid of the expressive, projects the experience of the viewer inward (albeit theatrically).
Minimalism has been framed within ‘aesthetics of boredom’, or as producing a polarity between boredom and interest. In my own work I am curious about exploiting this polarity as an affective entry point for the viewer or by providing, through boredom, what Benjamin calls ‘the egg of experience’. I explore this in the first instance through photographic practice that documents the affect of (my) everyday life but that results in imagery that might otherwise be considered boring. I also experiment with the language of seriality and the production of affect from exposure to multiple instances of otherwise mundane forms.