dormal gormal


George Barber



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


Press Release

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.