Joanne Moar & Jim
Fiona Gunn & Frances
Phil Dadson & Mike Stevenson
3x2 was a series of three exhibitions, each featuring two
artists, that ran at the Physics Room from February to June.
The artists were invited to present their work with the exhibition
space's context in mind, including its past uses and its wider surroundings.
One way of considering the work, then, is in relation to these things.
Philip Dadson & Mike Stevenson, the two artists paired for the
third of the three shows in 3x2 are established artists.
Mike Stevenson'sLET THOSE WHO RIDE DECIDE could be
seen as a sort of Trojan Horse inside the refined space of The Physics
"These customised shopping trundlers and invalid scooters look right
out of place in the elegant and formal context of an art gallery.
Perhaps they have been left here by accident and will soon be tidied
out of the way. The cranky texts and the weird mix of objects attached
to the trolleys make them look like they belong to the type of eccentric
individual that society doesn't quite know what to do with. These
trolleys, or 'jeeps' as the artist calls them, suggest that Mike
Stevenson is playing the role of a marginal type, an outsider, an
embarrassing bag-person of the art world. A friend of the artist
has said that Stevenson's trolleys look as though they belong to
artists who are no longer famous.
The writing on Stevenson's placards and drum-skins recalls the
painted texts of the naive and visionary Southern American artist/preacher
Howard Finster and the paranoid roadside signs of Jessie Howard
from Missouri. Like Finster and Howard, Stevenson takes on the role
of a prophet with a razor-sharp wit probing the foibles, hypocrisies
and conspiracies of the world around him; in this instance it is
the schemes and rhetoric of the art-world that is his target. Stevenson
weaves threads and connections between a host of art-world names,
ideas and institutions. As watchdog and whistle blower for the art-world
Stevenson seems on one hand to have power over 'the system' through
his prophetic interpretations of it and on the other hand to be
cast outside it because of his nonconformist behaviour. His trolleys
declare a brittle omnipotence as well as a sense of frustrated powerlessness.
In the manner of earlier modernist magpies of urban detritus such
as Kurt Schwitters or Robert Rauschenberg, Stevenson festoons his
trolleys with found materials. Big name dealer gallery signs from
international art fairs provide a form of stolen authority and prestige.
A carry bag from the most famous art shop in the world, Pearl Paints
in New York, is aligned with Pearl brand drum kits; the drum skins
also reference the percussion-based performances of New Zealand
artist Phil Dadson and Julian Dashper's recent abstract paintings
on drum skins. 'Pervert mirrors' extending from the side of some
trolleys recall Jasper Johns's sculpture of a school boy's shoe
with small mirror attached. The diagram of the square and cross
that Stevenson compares to the swastika reiterates the links between
minimalist art and sinister power that some have observed in Frank
Stella's use of painting titles which come from Nazi concentration
- Allan Smith
Reviews, Essays & Articles
Stevenson and Dadson show fails to impress
The Press, 1997 June 11, p. 18
Let Those who Ride Decide, by Mike Stevenson, and Voicings, by Philip
2 CENTS 12 June 1997
Phil Dadson and Micheal Stevenson @ The Physics Room