This exhibition will explore the use of text in contemporary art that has been transcribed from every day or alternative sources. For over a century, ushered in by Pablo Picasso’s inclusion of the fragmented word ‘JOU’ and collaged oil cloth in ‘Still-Life with Chair Caning’ (1912), artists have turned to low sources and materials gleaned from everyday life, thereby navigating visual communication away from its traditional reliance on imagery. Found elements derived from life in the studio, street and café were deployed to confront the audience directly with the stuff of reality at a time of great political, social and cultural flux. Fast paced change was axiomatic of the modern period, echoed by incessant industrial, technical and mechanical progress. Additionally, during a period of economic depression during and between the two world wars, adopting the use of accessible collage elements and found objects represented a democratisation of materials in themselves.
video, installation, sculpture, performance and assemblage derived from film, signage, posters, advertising, newspapers, notebooks, diaries, clichés, graffiti, tattoo and schizophrenic acoustic hallucinations.
Beyond this framework, ‘Transcript’ will investigate the disruption of language. In 1916 ‘Course in General Linguistics’ by Ferdinand de Saussure was posthumously published, and became a critical work in the field of semiotics. Central to Saussure’s theory is the arbitrary relationship between the signifier and signified. Taking the written word as the ultimate signifier, where meaning is attached by general consensus, text based work has the facility to communicate universally, at least to an audience who speak and read the same language. However, again from synthetic cubism onwards, text based work is often characterized by fragmentation and incoherence, where the association between signifier and signified is disrupted. This exhibition will assert that broken, covered, erased, reversed, redacted, or dissolving words, letters or sentences serve to deconstruct language in order
to encourage ambiguous, new or unintentional meanings, both cognitively and instinctively.