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Bankside (Tate)

 

Inside Bankside 

1996 Tate Modern, London

Tate Modern Wall Cuts 1996In 1996 I was invited by David Thorp, who was then the director of the South London Gallery to make works at the former Bankside Power Station. The building was being emptied and the redevelopment of the site began the transformation into Tate Modern. The finished works would form part of an exhibition of other artists who were commissioned to make paintings, drawings and photographs.

At first the arrangement was complicated; I had to call someone from the Tate who would come down, open the door, lock me in and then return when I was finished. I was required to buy a mobile phone. This proved impossible as I did not work to prescribed times. So, after some discussions I was given the keys to the Tate. For three months I had unfettered access to Tate modern. I used the doors of the offices to make tables and I had them placed in different areas of the building. I made drawings, took photographs and began cutting into the walls.

I made nine works. There was a series of tours for invited guests to see the progress of the Tate refurbishment and two of them included viewing my works.

I left the building and simply abandoned the work and most of the works on paper. 

 
LADDER PARALLAX  I found this rather short stumpy ladder that was actually about my height, I found myself strangely attracted to it. I placed it next to me during various wall cuts. Its seemed to short to actually be of any use at all. Eventually I found this corridor and I had this idea to make a companion to the ladder. I noticed that has you passed the ladder in the narrow corridor the view point changed this was evident in the shadow. So the small ladder looks from one position in the same angle relative to the real ladder but from a different viewpoint - out of sync. For some reason this amused me.

LADDER PARALLAX

I found this rather short stumpy ladder that was actually about my height, I found myself strangely attracted to it. I placed it next to me during various wall cuts. Its seemed to short to actually be of any use at all. Eventually I found this corridor and I had this idea to make a companion to the ladder. I noticed that has you passed the ladder in the narrow corridor the view point changed this was evident in the shadow. So the small ladder looks from one position in the same angle relative to the real ladder but from a different viewpoint - out of sync. For some reason this amused me.

DOOR  This was the second in a series of doors that I have re-made in different locations, the first was in the Museo De Bellas Artes in Caracas made in 1995 and is still in-situ, one of only two works that survive from that period. The others, below made at Tate Modern in 1996 and then in 1997 in Darmstadt in Germany.

DOOR

This was the second in a series of doors that I have re-made in different locations, the first was in the Museo De Bellas Artes in Caracas made in 1995 and is still in-situ, one of only two works that survive from that period. The others, below made at Tate Modern in 1996 and then in 1997 in Darmstadt in Germany.

VIEW This was made on the only viewing platform that enabled the odd visitor to look at the progress of the building project. I cut the word in the wall facing the view, to read the word was to turn your back on the view.

VIEW
This was made on the only viewing platform that enabled the odd visitor to look at the progress of the building project. I cut the word in the wall facing the view, to read the word was to turn your back on the view.

TARGET  One of the major influences is the work of Jasper Johns. I really found the Flag and Target painting interesting. Because he took the given of a flag and a target which enabled him to act upon it. This idea of accepting a given is central to all my work. In homage to Johns I called this work Target.

TARGET

One of the major influences is the work of Jasper Johns. I really found the Flag and Target painting interesting. Because he took the given of a flag and a target which enabled him to act upon it. This idea of accepting a given is central to all my work. In homage to Johns I called this work Target.

 
SHIP The was a small drawing I found in the space on a column. Drawn I suspect by a builder trying to explain to someone else something about a boat they had seen or perhaps imagined. I copied the drawing, enlarged it and turned it around to that it faced the Thames.

SHIP
The was a small drawing I found in the space on a column. Drawn I suspect by a builder trying to explain to someone else something about a boat they had seen or perhaps imagined. I copied the drawing, enlarged it and turned it around to that it faced the Thames.

THREE SIDED SQUARE  I liked the idea of a an oddball or improbable shape. Giving something the wrong name seems to draw into doubt what constitutes a square

THREE SIDED SQUARE

I liked the idea of a an oddball or improbable shape. Giving something the wrong name seems to draw into doubt what constitutes a square

STARE This is I guess the most obvious pun, but sometimes its hard to refuse the obvious.

STARE
This is I guess the most obvious pun, but sometimes its hard to refuse the obvious.

WALL  Its obvious, its like a dumb and stupid act and I could not resist it. There is an element of the graffiti in many of my wall cuts and this work is probably the most closest to the idea of disfigurement. After a while I lost interest in the word and decided to erase it.

WALL

Its obvious, its like a dumb and stupid act and I could not resist it. There is an element of the graffiti in many of my wall cuts and this work is probably the most closest to the idea of disfigurement. After a while I lost interest in the word and decided to erase it.