Visual art exhibitions and events with a platform for critical writing
Duncan of Jordanstone, Dundee
18 - 25 May 2007
Reviewed by: Fraser MacDonald
Eona McCallum Degree Show 2007 Duncan of Jordanstone
McCallum’s show is ultimately a response to her self directed rhetoric, ‘why do I create artwork?’[1] Her noticeably unimaginative fonts, light blue wash and unassuming print outs appear as intellectually challenging as a pre solved puzzle from the back of a box of ‘Ricicles'[2]. McCallum’s ‘pastel stroll’ begins with a nod towards the constant labour of contemporary arts need to ‘geniusify’[3] every relevant/irrelevant stage in the ‘process’ of artistic creation. In ‘I chose S 0510-R90B’, a luminous pink sticker is stuck on a brochure marking her chosen wall paint, thus questioning the validity of ‘process’, and unearthing an apparent disdain to the ‘finished artwork’. Here we uncover McCallum’s true intent: to question the method, and intelligence, of creating contemporary art.
Her simple annotations, anagrams and observations subject the viewer to conjure a narrative of their own. ‘Archie’ and ‘Call mum’ are the respective faux-cryptic adaptations of a sketchbook manufacturing company and McCallum’s surname, and act harmoniously as comments on contemporary artists’ apparent duty to readily consign their concepts high on a throne of perplexing inaccessibility.
The term ‘Attempt’[4] Excerpt from the series ‘Strategies for art-making’ (second in her instructional triptych (from the second triptych in her tri-triptych series)) - is summation of the premeditated naivety, and consequent accessibility, in which McCallum annotates her show.
‘Here’s to the digital age’ demands a rigid presentation, whereas McCallum’s use of scruffy felt pen and a torn edge maintains the quintessential spontaneity of the quote, thus exemplifying her own instructions for art-making. ‘I would like to meet you (posters to be taken away from an exhibition)’ continues this notion whilst ridiculing the free-for-all ethic towards the use of inconsistent media in many contemporary exhibitions. The numerous identical screen-prints piled on the floor from ‘an exhibition’ characterize the detachment she feels from her work.
The conversations we hold with McCallum through her images and texts are a suggestion at where her work may progress, if anywhere. Her three ‘Strategies for art-making’[5] act merely as tools to ensure a ready flow of inspiration form which to create works, whilst questioning the process of creation- both of her own, and that of her contemporaries.
[1] Eona McCallum
[2] Actual product title- ‘Little Bastards’
[3] Not a word
[4] Eona McCallum
[5] Eona McCallum
Writer detail:
quite tall, with an awkwardly located centre of gravity on my right shoulder, and a keen interest in 'foot-ball'. The artwork I produce is primarily concerned with 'deadlines', thus the exploration of time prior to, and exactly of, the moments at which such 'deadlines' exist. My interest in everything leads me to create artwork concerned with anything, the 'process' of which an artwork is produced being of particular fascination to me ' from the conception of, then planning, or merely boldly conceiving an idea and making the artwork, straight away.
Venue detail:
Duncan of Jordanstone
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