Project Fear, 2019
see book dummy Moving The Goalposts (2024)
https://www.blurb.co.uk/bookstore/invited/10246847/545cc41385e5d5263952e28a01f41bbc3cce1665
“Don't be taken in by project fear-staying in the EU is the risky choice. It is a once in a lifetime chance to energise our democracy, cut bureaucracy, save £8 bn a year, control our borders and strike new trade deals with growth economies that are currently forbidden. Vote Leave would be good for Britain and the only way to jolt the EU into the reform it needs. Let’s call it Project Hope.”
Boris Johnson, 28.2.2016
Academic Research about the impact of Brexit written as early as 2015 has meant nothing. Evidence from a wide range of reputable institutions has been ignored or dismissed by the leave campaign as Project Fear.
I base my pieces on Brexit studies published from June 2015, June 2016, and August 2017
My work is not a gesture of contempt for their findings but an observation, creating a discrepancy between the evidence and the accounts of what is happening in the name of democracy. The significance of erasing text is to be found precisely in the impossibility of giving the evidence the importance to have the impact on changing the government rhetoric and decisions regarding Brexit. It seems that no form of rational critique is going to persuade the people or the government to stop this disaster.
These pieces explore the loss of the communicative function of knowledge. The erasure mirrors the concept of cleaning Great Britain, a purifying process to make Britain prosper again and the current British Zeitgeist of blaming the EU for everything. Imposing geometric coloured shapes, mainly rectangles to block out the text is a retreat into abstraction since the facts are not understood.
The redaction of text suggests that what is present beneath the coloured rectangles is significant in light of its absence, a reflection of the misinformation and rhetoric regarding Brexit. The juxtaposition of the coloured abstract shapes and Anna Power’s sound collages of political Brexit speeches from 2015 to 2017 has created an uncertainty which resonates with my own situation as a European.
The Path; The Briefs; The Effects; 9 images; (1220X1220mm), c-prints
3 sound collages; political Brexit speeches 2015 to 2017 in collaboration with Anna Power
shortlisted for the Aesthetica Art Prize 2020: https://vimeo.com/402189088
https://www.blurb.co.uk/bookstore/invited/10246847/545cc41385e5d5263952e28a01f41bbc3cce1665
“Don't be taken in by project fear-staying in the EU is the risky choice. It is a once in a lifetime chance to energise our democracy, cut bureaucracy, save £8 bn a year, control our borders and strike new trade deals with growth economies that are currently forbidden. Vote Leave would be good for Britain and the only way to jolt the EU into the reform it needs. Let’s call it Project Hope.”
Boris Johnson, 28.2.2016
Academic Research about the impact of Brexit written as early as 2015 has meant nothing. Evidence from a wide range of reputable institutions has been ignored or dismissed by the leave campaign as Project Fear.
I base my pieces on Brexit studies published from June 2015, June 2016, and August 2017
My work is not a gesture of contempt for their findings but an observation, creating a discrepancy between the evidence and the accounts of what is happening in the name of democracy. The significance of erasing text is to be found precisely in the impossibility of giving the evidence the importance to have the impact on changing the government rhetoric and decisions regarding Brexit. It seems that no form of rational critique is going to persuade the people or the government to stop this disaster.
These pieces explore the loss of the communicative function of knowledge. The erasure mirrors the concept of cleaning Great Britain, a purifying process to make Britain prosper again and the current British Zeitgeist of blaming the EU for everything. Imposing geometric coloured shapes, mainly rectangles to block out the text is a retreat into abstraction since the facts are not understood.
The redaction of text suggests that what is present beneath the coloured rectangles is significant in light of its absence, a reflection of the misinformation and rhetoric regarding Brexit. The juxtaposition of the coloured abstract shapes and Anna Power’s sound collages of political Brexit speeches from 2015 to 2017 has created an uncertainty which resonates with my own situation as a European.
The Path; The Briefs; The Effects; 9 images; (1220X1220mm), c-prints
3 sound collages; political Brexit speeches 2015 to 2017 in collaboration with Anna Power
shortlisted for the Aesthetica Art Prize 2020: https://vimeo.com/402189088
