THINGS DISAPPEAR WHEN THEY RESEMBLE SOMETHING ELSE, OR IF SAY, THEY ARE BUILT AS MONUMENTS OR ARCHITECTURE, OR THEY EXIST AS DOPPELGANGERS (WHICH DON'T EVER EXIST), OR ARE COPIED, OR BECOME MERELY FAMOUS AND FAMILIAR, GET COATED WITH THE VENEER OF OVER-EXPOSURE, AND DESIRE. SO RECONTEXTUALIZED, MIGHT THEY NOT BECOME A PART OF A VERNACULAR IN WHICH THE VIEWER THEMSELVES BECOMES INTENSELY SELF-AWARE EVEN AS THEY ARE FORCED TO ACKNOWLEDGE, PERHAPS BECAUSE THEY ARE FORCED TO ACKNOWLEDGE THEIR PLACE IN A LARGER CONTEXT? SUCH MY QUESTIONS, A 'METHOD': WHEN SHOULD THERE NOT BE A WORK OF ART AS 'ART'; HOW VISIBLE SHOULD A WORK OF 'ART' BE; CAN WE IMAGINE ITS DISAPPEARANCE NOT JUST VISIBLE, BUT TANGIBLE, AND FELT? THIS IS WHAT I CONTINUE TO PRACTISE, AND WHAT I WORK TOWARD IN THE IMAGINARY, PURSUING THE COMPELLING DIAGONAL OF THE OBLIQUE, THE TANGENTIAL, AS A WAY OF ELUCIDATING THE VERY STUFF OF PARADOX, OR AT LEAST, WHERE THEIR 'ALCHEMY' OF CREATION MIGHT LEAD TODAY.
Mary Ellen Carroll
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MECarroll, Mary Ellen Carroll, MEC, Conceptual Art, Photography, Public Art, International Artists, Conceptual Photography, Installations, Doppelgangers, Film, Video Artists, Koncept Kunst, witty conceptualist, New York Times, Galerie Hubert Winter, Frederieke Taylor, New Media, Plastics, Apex Art, Whitney, artnet, germany, Angles Gallery, los angeles, SAIC, printed matter, Dia Art Foundation, MOMA, Stuttgart, Berlin Itinerant Gastronomy