George Barber. Dormal Gormal – RythymNormal.
A short Interview between George Barber and the Texan
Recorded In BierBlitz Mitte. 9.30 am . in the German Museum .
Er Sagt : Dazu zerschneiden sie bitte magnetstreifen + chip mit eine Schere :
:Werfen Sie die Einzelteilen in den Restmull ;
:Keine Karten , parallel welten zusichern . nichts personal.
The Texan : The Reversal Question : what use does an Obstruction have in a Museum . Of course Debating corners will be discoursed , and thousands of people on the streets all bring with them new sounds , skipping ads and dislikes , will call out the Scams the COOPs and benefit discretions .The SFX I didn’t do. So cordially invited ,”the way you look tonight”. A weekend in a Potlatch . Parlament being attacked by the whatever people.. Andy Paints and Hormone tablets . Hope is not helping here . Great , The next round of Beers arrive . breathe out …
G.B. But if a Wisdom walks with no Shadow what may be a running exercise?
The Texan: Pre-paid ? …… well yeeah..
G.B. exactly ,. so I still have fathomed my work in this examination of life a nd living, however less than function more traditional , and explore the natures of reality and human perception.. As my interestes become more fundamental and existencial – the forms have likewise become more simple and elemental. The contrary to a comfort Zone , a Mussel of New Eden .
The Texan : aha .. the perpetueal no doubt , …another round ?
G.B. you may say more more problem agenda , I like ti think its less the agenda a. shift anticipate arevaversal , in questions to what use does a contrary entity have in a museum ?
G.B. and not to be forgotten and due to Quarter century turnarounds , just remember : ambient art and installion art finally drove out the notion of act after a tedediously long period of coquette product aescetism..
The Texan : well it still seems those Image-processing patterns are the broken compositional elements , and we can see in these latest works retain your outsider wit and a sharp sensibility on advers commentaries. well remembered are also your Jour Fux evenings , in friends studios , parkland and seaside events.
G.B. They were certainly as you say Transition years , Its not me saying that all the time I was not interested in disrespecting the triangle , its exploring the endeavor through the medium and readdressing the great Raconteur that underscore the moody sentimentalism of painting as a p retinal contact
DormalGormaldormalgormaldormalformaldormalgormal In his shadow , the Texan , as usual picks up the tab …. No copyright infringement intended . “ YouTube tip ” George Barber – automotive action paintingn
The work in the exhibition has been produced over the last 5 years. The presentation is not chronological, rather it reflects the artist‘s working process, where themes, styles and/or techniques are repeated every fourth or fifth image. This could be seen as a failure or malfunction of short-term memory, but in fact corresponds to the artist‘s desire to keep reinventing his working methods and starting points.
This ‘trying to avoid repeating himself‘, as an absurdity and necessity, contrasts with the subjects which are often full of rhythmic repetition. This repetition shows the mechanization of the self or processes which unintentionally highlight the fallibility of human nature, and creates charming discrepancies and failures in ‘mechanical perfection’, as in the comb-like cut-outs.
The idea of industrial reproduction is approached differently in some of the framed works. Here Barber takes the connecting/hanging points of the back board of the frame and uses these as a starting point. As the manufacturer has used these distances as an optimal balanced spacing to support the frame, so he uses these as a method to ‘join the dots’ to create an optimal, balanced work. within the given format.
These peculiar ‘games’, that account for both the work’s variety and its deviation from more common minimalist and formalist positions, recur in many if not all of the works in the show in one form or another (the title of the show itself is in fact a play on the word formal). Points of departure could be an optical confusion, a play with material (passepartout frame) or with the dimensions of the surface, a reference to architecture or design, a resemblance to a board or computer game, an attempt at mechanical reproduction or something else. Rules are then laid out, and the result may or may not correspond to the expected outcome.