" The Endless Collection was all about testing hypothesis about where I could find novel forms. In my development, I had soon worked out that novelty, beauty and magnificient forms were everywhere around me - that these were in fact the stable reality and that this was actually the opposite to what I had been told, and what other artists had alluded to - that beauty was rare and fleeting and difficult to capture in art - that it was this great conquest to do so. I would literally sit on a desk with a camera and look mindlessly in the distance and fiddle with Playdoh in my hands and then take a photograph of it. No matter what I did, no matter what I folded, or rolled around, if I was able to look at it really truthfully without my own biases - I would see that I would produce unbelievable forms everytime. And yet if I was trying to do so I'd be having to grind uphill in trying to make the beautiful thing and would fail.
This made me realise I was more like a tourist in the world, but even this is false, because the tourist can still take good and bad photographs, where as I couldn't produce beauty and form and connotations - if - and this is a big if - if I could open myself up to seeing the beauty, and not attach my own egotistical ideas that I needed to create it from scratch to be the big amazing artist I wanted to be. What am I really doing here? What is the real goal? These may seem counter intuitive to the goal of making creative works, but they are directly connected to what I bring back, because they are part of my original goalset. "
This is not similar to Pollock's theory of capturing the process in the work - this is about capturing certain areas of the brain and the connotations that it brings up.
Dead Elephants really beautifully encapsulates all of the ideas in this series - it even has sneakily that circular Playdoh plastic lid in the background which I really like as a reference in the work. But you can see the trunk, the big ears, the dopey, slumpy position of an elephant, the big round feet. If you think of the brain as a big series of pipes that light travels down - I end up near an elephant - it's like a computer vision program that would say "60% confidence of elephant". There is something very interesting in illuminating the filter of individual - the experience of the artwork is also about the individual becoming acquainted with how their brain filters the world outside of them.
The strange thing is your filters are different than my filters. For me, these forms look more like a a different group of forms I've seen - I just wrote Dead Elephants because it's something we can both connect on. We both won't connect on Faces On The Glass, But Who Is In The Zoo, because we both haven't seen the same things.