| Description |
"Grayson takes a pneumatic drill to the walls of the gallery to carve out messages that are not his, with a hand writing that is not his" (Autumn 1995 brochure)
"One room has been jackhammered. Working from slide projections of the real thing fragments of personal letters have been immortalised, monumentalised. The traces of handwriting existing as vacant/negative spaces in the wall whilst the substance of the text, the extracted wall, becomes dust/ ashes underfoot. The negative space retains a history, fossil like, of a seemingly obsessive activity, hysterical yet touching. A male hysteria using boys toys (the jack hammer drill) in a manic attempt to make visible fragments of lost private intimacies. A vain attempt to defy the passing of time, to rewrite and reinstate the past by inscribing it into the wall, but always from the point of view of the other, never using his own handwriting. In this manner Grayson acknowledges the projection of his own hysteria onto the woman?/ writer, leaving the wounds for all to witness. The ghost has returned to write a warning on the wall, all take note. The room becomes an enormous tombstone, or the interior of a Pyramid, a memorial to the everyday, to our personal exchanges. The dislocated text could also refer to past histories within the space itself, memory embedded within architecture, the space, and inscriber becoming a nexus of intersecting narratives." (Suzanne Treister, catalogue essay) |
Event
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