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Other places I want to show my work are like magazines, comics, postcards. With all my work I plant hints. Still in my gas mask theme, but now using billboard paper. Background color from advertizing. Asthetically much more vibrant. Still chalk, spraypaint. I did this right after I got back from being in San Francisco for a few months at the start of the Gulf War. I was back in Oberlin as the war wound down. I felt frustrated and angry. The support for the war there was complete, and the support against it was complete in San Francisco. This piece comes from the Chronicle and the Examiner clipping. Use the words of the establishment to expose themselves, while at the same time playing with the words. Barrage of words, kind of like the effect you get when changing the channels on a TV set. The same kind of effect I'm trying to get. Have the text repeat itself. Set up a rhythm and breaking it. Rubbing out certain words makes it so you can't read it easily. If I gave it to you straight, you'd read it like a story. Making it harder to read calls into question the nature of the text itself. Imagine if you had a photograph of this room, it would make sense in a second. But if you did something to the photo to affect the walls or floor, or make it really overexposed or underexposed, it would make the viewer really aware that it's a photograph. You can't see it as a narrative. No snapshot of reality, call into question ideology.
The trains in New York were probably a more serious influence to me than anything else.
I was studying pop art when doing gas masks. Pop art was facing consumer and commodity society. I realized how much it had affected me. How much these TV jingles had stayed in me. Jingles that feel more a part of me than some parts of my personality. I want people seeing my work to feel this same thing, people who know the cliche well known slogans. Drifted away from this. Is my identity just from my environment, from the TV?
There were ads on the paper, I cut it up, pasted it together, made my own ads.