A Greater Level of Investment
Yvette James and Andre Franco
Disassembled dust extractor, steel cable
Bus Projects (2019)
Suggesting a timeline frozen at the moment before a climactic event, the work engages the viewer in a suggestive, participatory manner, encouraging the viewer to fulfil the outcome of the work through their own sense of expectation. The work and viewer interacting to create the action between them, object as a beginning and viewer as conclusion. The anticipatory reaction adopted by bodies in the space is the substitute for conception of the suggested action, as a body adopts the anxiety that leads suspense.
The anticipation of the outcome exists only in the viewer’s mind yet the reality of it is materialised through individual expectation. The viewer acknowledges the work from their subjective social conditioning, causing the fulfilment of the action to be produced in a multitude of different ways, each specific to the individual’s imagination. The work acts as a spectrum of conclusions, each slightly different, encouraging an environment of curiosity in which the work is adapted to the viewer, by the viewer.
The functioning qualities of the industrial object, omnipresent within the space, blurs the line between art object and architecture, these thresholds reformatting the gallery as part of the work. The peculiar possibilities that art holds is threaded into the foundations of the building, warping the structure we assume as both reliable and stagnant. As object and building intertwine the space is reassessed, no longer receding into invisibility, dragged up for closer inspection.
Yvette James and Andre Franco
Disassembled dust extractor, steel cable
Bus Projects (2019)
Suggesting a timeline frozen at the moment before a climactic event, the work engages the viewer in a suggestive, participatory manner, encouraging the viewer to fulfil the outcome of the work through their own sense of expectation. The work and viewer interacting to create the action between them, object as a beginning and viewer as conclusion. The anticipatory reaction adopted by bodies in the space is the substitute for conception of the suggested action, as a body adopts the anxiety that leads suspense.
The anticipation of the outcome exists only in the viewer’s mind yet the reality of it is materialised through individual expectation. The viewer acknowledges the work from their subjective social conditioning, causing the fulfilment of the action to be produced in a multitude of different ways, each specific to the individual’s imagination. The work acts as a spectrum of conclusions, each slightly different, encouraging an environment of curiosity in which the work is adapted to the viewer, by the viewer.
The functioning qualities of the industrial object, omnipresent within the space, blurs the line between art object and architecture, these thresholds reformatting the gallery as part of the work. The peculiar possibilities that art holds is threaded into the foundations of the building, warping the structure we assume as both reliable and stagnant. As object and building intertwine the space is reassessed, no longer receding into invisibility, dragged up for closer inspection.