whenever “strong female characters” insult men by calling them girls my eyes roll so far back in my head i can see my brain cells die
Paul Fryer. The Dreamer (Silent, Weightless) 2012 (wax, human hair, white paint, oil paint, cotton gown, epoxy resin, fibreglass, ceramic, glass, wood, veneers)
Paul Fryer. Martyr, 2007, stainless steel, wax, Plexiglas, human hair, Tesla coils, computer, light system
The show features only one art piece: Martyr, created specifically for the gallery. This large scale installation represents the synthesis of Paul Fryer’s research into the origins of technology and the labyrinths of science. The actual elements used to construct the artwork - stainless steel, wax and glass - testify to this synthesis.
The origins of the work are bound up in an event which made news at the end of the 19th century. A Western Union lineman, John Feeks, was employed alongside others to hang the thousands of kilometres of wire connecting one building to another and providing the city of New York with electricity and information. Feeks was accidentally electrocuted and his corpse dangled for hours in a tangle of wires above the Manhattan streets, to the horror of thousands of onlookers. His fate became a symbol of the perils of technological advancement, a martyr to progress, and one of the most famous victims of the electromechanical revolution at the end of the 19th century. Fryer’s installation is a sort of modern monument to the forgotten workers and their anonymous contribution to supplying the electricity to power modernity.
Andrea De Stefani, Untitled (DNA), 1960-2010, plaster, iron
Ashley Wood. from ‘Machine Sabbath’, 2012, all oil and acrylic on canvas
"If you could give one piece of advice to a large group of people, what would it be?"
“I don’t think I should be advising anyone.”
“Ok, well if you could give one piece of advice to yourself at the age of eighteen, what would it be?”
“Were you able to stay sober?”
“Not terribly well.”
“How would your life have been different if you had?”
“Not sure how different it would have been. But I’d have been a lot more at peace with myself along the way.”
Kim Addonizio (via comparisonswithsummerdays)
Photo by George Valdez
The Origin of War borrowed from Orlan’s The Origin of War 1989
Seeps of Winter