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Lorna Mills and Sally McKay
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These kiosks are from Lorna Mills' recent show at Robert McLaughlin Gallery. The texts running across the bottom of the screens are streams of race horse names, chosen for their punning, allusive qualities. For instance the kiosk on the right, titled "Greeter" contains about 250 names including:
Hello Duck Entoria Percipient Twisted Wit Hello Loneliness Beau Manners Sure Blade Meinberg Omi Par de Deux Devaluation Azazel Hassenack Ack Ack Haiati Muted Triple Fax Lillian Gish Marienbard Trupon On Chiecaworld Emblitterate Bullistic Slam the Door
 | The kiosks (seven in all), are accompanied by much earlier work, that also probes at colour, broadcast, and lateral meaning. I am particularly interested in a series of cibachrome prints (image on the left is a detail, re-shot from the catalogue by me), crappy screen shots of sports on TV, enlarged so that the image, already crunchy, dissassembles further into globs of RGB. There is horse racing, swimming, curling, golf... Sports are so specific, a particular type of cultural narrative that is delivered to us within a particular lexicon of words and pictures. Mills judders this broadcast and sends it back, adding information about the physiology of perception and the resonance of association. You could call this culture jamming, and you could call it abstraction at the same time. The show really got my gears turning but I am writing about it for a print magazine, so will not go on too much more about it here and now. |