Clueless Ø190 (silver) continues my investigation into the way we represent the world around us through the exploration of the politics of materials, space and aesthetics. Clueless Ø190 (silver) belongs to a network of closely related objects, paintings, photographs and installations. The works are characterised by simple, geometric forms and ‘off the shelf’ honesty to materials and design, and are inclined to obsessive repetition. While they are mirrors and surrogates of the quotidian, they have also been highly manipulated to make us aware of the way we see these objects through the visual codes they bring to bear and the stylistic tropes they articulate.
The object’s location and prospective interaction with its environment are of relevance in the reading of the work. Set on its lean plinth, the inference of the fortune-teller’s crystal ball, although not intentional, is optional when engaging with the acrylic ball. When resting on the ground such an implication is absent. A vision of perverted honesty and bordering on saccharine sentiment, Clueless Ø190 (silver) is a speculation on the charm of popular culture. It pays an oblique homage to the popular teen-film and sitcom of the same name, with their spectre of excess and artifice.
The word CLUELESS glitters and hovers in a ball machined from laminated clear acrylic where its concrete assertion, by way of materials and straight-forward plastic form, has frozen the word’s intent within itself. Word and material are equally plastic; each element supports and complements the other. That which is sensed in the distorted reflections of ourselves gazing into a vacuum and looking for clues, is relocated into a pragmatic and poetic resolution of the lucid and its antonym, muddled.
Photography: Adrian Lambert, Acorn Photo Agency