White Washed

Work must constantly evolve, morph and grow. Although these pieces are presently complete, they will continue to transform with repeated acts of whitewashing.

The process dictates this project. The end is not in sight.

Photo 2014-12-08, 6 08 23 PMPhoto 2014-12-08, 6 06 23 PMPhoto 2014-12-08, 9 23 52 PMPhoto 2014-12-08, 9 22 57 PMPhoto 2014-12-08, 6 03 26 PMPhoto 2014-12-08, 6 01 11 PM1Photo 2014-12-08, 6 10 58 PMPhoto 2014-12-08, 9 21 49 PMPhoto 2014-12-08, 9 21 11 PMPhoto 2014-12-08, 9 25 38 PMPhoto 2014-12-08, 9 22 16 PMPhoto 2014-12-08, 9 26 46 PMPhoto 2014-12-08, 6 05 08 PM


  • sylwia

    Hi Jonny,

    I like how your project turned out. It doesn’t have the tension of the previous idea nor the ability to agitate discussion the same way, but something pulled through for you and your unexpected presentation is really compelling and nice to look at. Unexpected I guess because it’s so obvious and simple: everyday things, dipped in white paint, presented on a white background – yet they’re so appealing. I really enjoy looking at it – the way the tone changes and how the white envelopes the objects, makes them interesting; instead of being the things we’re used to and things we come to dismiss – they actually seize to be everyday objects and become artifacts, or rather evidence, of some weird experiment. I think I am most taken by the rough edges of the paint, the dried drips, globs and rips. and their interaction with their hosts. In the process photos it looks kind of sloppy and absurd, but then as you built up the layers and because you choose to make this process so obvious and visible by the inclusion of all those paint puddles, it ends up activating not only the objects, but also your actions, and I begin to question the space around them, as well as the space which the things occupy.

    The contrast between smoother things like the glasses and the rubber bands and pins, or the Ken doll, and objects like the toothbrush, or mouse or teacup – is great. I like examining the difference in the readings between those two treatments – one so careful and considerate of the original forms, and the other almost this haphazard submergence. I think that the forms with the paint drips are more interesting, but it’s good to see both techniques – they play off each other well. I’m not sure what to think about the work contextually, but I don’t know if I need to think anything of it, I’m satisfied with just looking at the nuances of light and shadow and the shape.

    Your towels and sweater turned out awesome! Love the texture that comes through – uncanny feeling – knowing how the fibers feel on the inside and the outside – something alive encased in plastic. Weird. But good. I think that you did a really good job presenting it and that you totally made it work visually. I think the intimacy of the photograph really suits the project because the objects are rights in your face, existing in this ambiguous white space, separated from the context of a gallery or plinth or whatever, separated from the relation to one’s body, therefore size, they exist in this space and seem larger than life… I would be inclined to blow them up as giant photographs and make that the show at the gallery. You had a Tim Gunn moment. Totally dig how it turned out! Good luck with it!

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