— this collective persona suits the work and forces methods of practice where individual authorship is diliberately undermined. the work ‘recovers’ found objects from our recent past in the form of a negation- using now degraded and discarded remains of capitalist commodity production.
— collaboration is another form of outside-in thinking that forces the inside out.
— it is a highly fruitful form of collaboration as it promotes collective modes of thinking and allows the work to develop out of the process of finding and making. again it is a form of constructive montage bringing together disparate materials, ideas and a collective subjectivity.
— it is interested in the archaeology of things and in the architecture of means, treating the world of things as ‘found’ material. and combining materials and media from diverse sources to construct the work.
— it is akin to the construction of ancient monuments where ‘found’ rocks are refashioned collectively into symbolic form – in this case the stones were found ready to hand and revered for its intrinsic material qualities and gathered together with other material to form assemblages – broken pottery, used tools, ancestral bones etc – with the intention to relate the monument created to wider horizons both in terms of land-shape, local ritual and a wider cosmological signification. art practice then on a grand scale.
— not least it take its impetus from benjamin’s notion of montage, a constructive technique born out of the modernist city and its spatial production of multivalent images. the modernist montage city was a mash-up of buildings and streets jostling up against each other. cramped urban centres, interspersed with street signage, trams and people, the city was made of images, image upon image, each synaptic visual connection tumbling one into another, stimulating, playful and multivalent.