Show: now…now…now… wax print (edition of 50). Daniel Fogarty
“I remember seeing a film about this time last year called News Story, documenting the production of a single issue of The Guardian when it was still based in Manchester. It was a wonderfully fast-paced film where production rested only to bring about another layer of production. The film did not stop from the stories to the editing to typesetting to the proof reading to the photography to the layout to the printing to the delivery to the distribution and finally to the reader of the story, while production of the next edition had already started.
“I came out of the screening with an admiration more for the film’s editing than the newspaper that it was documenting. I really like this situation of filming; also, the extra level of production that must have been going on in the offices, printing room floors and news desks while the filming was taking shape and what an odd situation it would have been. It would have been nice to keep the filming going to the point where the filming became intrinsic to the paper and vice versa, where one level of production would feed the next and the filming would be talked about in the newspaper and the tables turned. And finally a newspaper produced by documenting the production of the film.
“This screening was December 2010 and the work did not derive from this encounter but, when I come to discuss the work, I feel like it is a fitting introduction.
“The poster was produced during my three month residency at Bureau this summer (2011). I see now…now…now… as an overtly unspecific work, overly concerned with its production and aesthetic relation, and a work so broad in function that it fails to bring about any. I wanted the work to be a kind of folly where reproduction upon reproduction arrives to a point where it can speak so many languages that it ends up speaking none.
“If the image that I drew at the start of its production, a clean and stylised image, was presented it would be a very direct image despite the fact that the wording (‘now’) is broad and in relation to itself bears no real relation to a narrative.
“I am interested by the ‘now’ness and aesthetics (both stylistically and culturally) of the photocopy and its print equivalents. The final work is a wax print of a photograph of a blown up (photocopied) image of a print-out of a digital drawing. The work traces its history and invites the viewer to take it at face value. The photocopy is a rich medium that spans across a range of graphical language. From the lackadaisical or noncommittal familiarity of the photocopy (say for the office document) to the committed and passionate aesthetics often teamed with the self publisher or ‘zine.
“I am really interested in the possibly grey area between the two and the role of the photocopier as a medium. The poster is type of print often used for architectural plans or charting information on a professional level and it is at this point where the work alludes or aims to speak of a point of retrospect and the constant renewal of publishing and the point of reference.
“This is a slippery matter where the work falls, between manners of publishing between the photocopier and the wall. The work points towards nothing explicitly because of its doubling up of production, and lack of commitment with its outputs.”
Info: Daniel Fogarty is an artist and designer who lives and works in Manchester, UK.
Leave a Reply
You must be logged in to post a comment.