Drug-producerende machine

 

 

 

 

 

 

 

 

 

Crop door Roxy Paine, 1997-98

 

 

Verslavende natuur

 

Een papaverveldje dat bijna oogstrijp is. Uit Wikipedia: ‘Crop, 1997–98, shows a field of poppies, with ripened pods exposing the evidence of raw opium being readied for harvest. The piece embodies the shifting views of the beauty of a field of wild flowers and the grave potential of drug addiction.’

 

 

 

 

 

 

Jeroen Bosch

 

Een vroeg werk van Paine, uit 1993-95, bestond uit een vitrine met nauwgezet nagemaakte favoriete maaltijden van dictators als Hitler, Napoleon en Suharto. Vanaf dat werk, ‘Dinner of the Dictators’, liep het werk van Paine over twee sporen: enerzijds maakte hij handgemaakte naturalistische werken en anderzijds random machinaal gemaakte sculpturen.

 

In 2002 zei Paine in een interview met de New York Times: “If I have to call my work anything, I'd call it skeptical -- which means that it's questioning instead of answering. I don't have answers. But if reality is constantly being retrofitted by all the digital technology around us, then answers move around all the time. They get layered. And when I think back to the art that's inspired me, I think about Hieronymous Bosch, about his imagined natural worlds that seem simultaneously vast and minute. I love that -- what's the word -- fieldness in his work, all these events going on at once.''

 

 

 

 

 

 

Machines

 

Paine verliet het ouderlijk huis toen hij vijftien was en ging vier jaar mee on tour met een rock-band. Hij gebruikte in die tijd drugs. Na verschillende kunstopleidingen werd hij in 1989 kunstenaar en stopte naar eigen zeggen met drugs. Paine: ''Drugs are transformative and so is art. They're both meditative. They move you out of the body. I've very consciously traded one for the other. The repetition in making all those casts of poppies or mushrooms and painting them is meditative like that.''

 

''You can think of the mushrooms as biological systems, as little drug-making machines or death-making machines or nutrient-making machines. And in making them I become a machine, too, doing this one thing over and over to focus, but to get out of the body. I'm interested in systems, in machines, for one thing because of that repetition of processes, that sense of control -- and then the contradiction built in: we don't finally have any control because nature is always putting change in.''

 

 

 


 

Roxy Paine (VS, 1966)

 

Wikipedia

 

 

 

 

 

 


 

Museum De Pont, Tilburg

 

Foto’s: december 2017

 

 

 

Startpagina Buitenbeeldinbeeld

 

 

Startpagina Beelden in De Pont