Big thanks to @chriscoatham for letting us place his work gently on the gallery floor for his woooshing – the curatorial freedom was a nice change of pace from our standard arrangements.
Chris Coatham’s work was one of many firsts: first double opening, first not attached to a wall, first not consumed by slugs. After the opening evening his temporary floor based installation was left in situ, but when we left the gallery we didn’t track its movements. As a result of this we can only speculate as to where it ended up. Did somebody find it and realise it’s value as a thought provoking work from an early career artist, or did they mistake it as yet another piece of Perth Road detritus and place it in the recently decorated paper recycling bin?
The work shown featured the familiar template of the ‘expanding brain meme’, an image format that most are familiar with but one that we rarely experience in a physical format. The most expanded brain tells us that printing memes is three steps higher than making print. (Sorry printmakers). Chris seems to be constantly producing content and dispersing content, then producing content about dispersing content… Taking these ubiquitous internet forms and using the lo-fi, familiar and easily distributable format of memes to convey niche critique about the art market, art history and art theory, in lieu of broader cultural referencing and social funnies – upturning and so bashing the dust off the pedestal upon which –serious– arts discourse is held.
Just like Chris’s physical Wooosh piece, it is interesting to imagine just how far these digital works have dispersed, what places they have accessed – uninvited, and likely to be misunderstood.