Oliver Durcan
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© Oliver Durcan, 2017
Site by Luke McDonald
Attachment 1, 2017
Various Paints, Tape, Staples on Plywood with Float Subframe
(h)164 x (w)122 cm
Attachment 2, 2017
Various Paints, Tape, Staples on Plywood with Float Subframe
(h)122 x (w)80 cm
Attachment 1 & 2, 2017
A dirt stained, paint splattered, note covered sheet of plywood. Disposable and withered yet hung confrontationally, oppressively, squaring up to the petite body that stares back at it. Attachment recruits traits that would define ‘painting’ - wall hung, rectangular, flat, housing dried up liquids - yet it existed originally as a by-product of painting, a studio tabletop, an attachment to the artists identity. Is it a painting if it sits on four legs or does it need an adoption of wall hanging formalities? Swaying between ornament, found object and painting, its intention is to question our tendency to define work by its media. Can paintings that have previous functional roles really be called paintings? How far does the measure of ‘intent’ need to go before an artwork is crowned with this media title?
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