Oracle 2000 newspaper, mdf, speaker, sound
‘Little scraps of paper with words on fling themselves about in the vibrations from a loudspeaker. On the top of a white plinth, which gently slopes towards its centre, the papers rest where they fall as the vibrations stop. Oracle, 2000. Yes, it is like the casting of oracle bones, the throwing of dice, a lottery wheel, a sort of automatised Delphi. The words are cut from newspapers, punctuation removed, detached from narrative, existing in the present. Do they represent pure energy or a possibility of meaning? How do the energies of space affect, interact with or charge, the energies of language? And vice versa.’
Guy Brett describing Oracle in ‘What Lies Hidden’ an essay on Tabatha Andrews’ work in the publication Blackout 2005 Plymouth Art Centre.
Shown as part of ‘Slade Engine’, a group show in a warehouse in Vauxhall, London.
Oracle 2000 newspaper, mdf, speaker, sound
‘Little scraps of paper with words on fling themselves about in the vibrations from a loudspeaker. On the top of a white plinth, which gently slopes towards its centre, the papers rest where they fall as the vibrations stop. Oracle, 2000. Yes, it is like the casting of oracle bones, the throwing of dice, a lottery wheel, a sort of automatised Delphi. The words are cut from newspapers, punctuation removed, detached from narrative, existing in the present. Do they represent pure energy or a possibility of meaning? How do the energies of space affect, interact with or charge, the energies of language? And vice versa.’
Guy Brett describing Oracle in ‘What Lies Hidden’ an essay on Tabatha Andrews’ work in the publication Blackout 2005 Plymouth Art Centre.
Shown as part of ‘Slade Engine’, a group show in a warehouse in Vauxhall, London.