Sem Tejlor-Vud | Sam Taylor-Wood
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Sam Taylor-Wood
Vaznesenje, 2004.
Ascension, 2004


Born in 1967 in London, Great Britain.

www.whitecube.com
www.matthewmarks.com

Ascension, 2004
Installation view Kunsthalle Fridericianum Kassel
Photo: Nils Klinger

Ascension is one of my favourite pieces because I love the fact that it’s such a completely peculiar image and an image that I’ve not seen or had sense of before. It shifts your balance because it’s the strangest thing to see a man with a pigeon on his head, tap-dancing on the chest of another man who is lying on the floor. Of course it has this element of comedy but, as you’re watching it appears very dark, a kind of dance macabre, with the dancer whose face is painted white, like a death mask, tap dancing on the chest of a prone figure. And there’s this grey old pigeon which flaps about, and in taking flight, breaks up this sinister trinity, in a possible redemptive way.

Sam Taylor-Wood in conversation with Annushka Shani
from: Sam Taylor-Wood, Still Lives, ex. cat., ed.

Rođena 1967. u Londonu, Velika Britanija.

www.whitecube.com
www.matthewmarks.com

Vaznesenje, 2004.

Vaznesenje je jedan od mojih omiljenih prikaza, jer mi se dopada činjenica da je to u potpunosti osobena slika i slika kakvu nikada ranije nisam ni videla ni osetila. Od nje vam se zavrti u glavi, jer je videti čoveka sa golubom na glavi kako stepuje na grudima drugog čoveka koji leži na podu, najčudnija stvar na svetu. Naravno da tu postoji i jedna crta humora, ali dok je gledate, stvar postaje prilično mračna, kao neki dance macabre (mrtvački ples), sa plesačem čije je lice obojeno u belo, kao maska smrti, koji igra na grudima čoveka koji leži ničice, a tu je i taj stari sivi golub koji udara krilima naokolo i, kad poleti, ukida ovo jezivo Trojstvo, i možda se iskupljuje.

Sem Tejlor-Vud u razgovoru sa Anuškom Šani
Preuzeto od: Sam Taylor-Wood, Still Lives, ex. cat., ed.