August 7, 2011 § Leave a Comment
Like a fifth column, Framer has always lurked in the shadows of his own practice. His aim is, however, not to destroy but merely express ambivalence. One constant in his work is the use of video to make literal the idea that the exhibition space is the site of something that’s already happened. So the artist has used an art gallery to show a video of himself skateboarding there after hours, or another to show video documentation of himself making tin foil sculptures with his feet. For his Jeffries’ show, the installation evolved, the viewer encountering traces of the artist’s nocturnal actions: His drawings pinned to the wall; the fuselage covered with scraps of colored fabric; the artist seen on a monitor wearing a child’s skeleton outfit and climbing a ladder. Creating layers of time and space in the gallery, Farmer reflects on the role of the artist as presence and actor: and of conceptualism as a practice that is, of necessity, always reanimated.
By Rosemary Heather