Sitting surrounded by his current exhibition Paper Concertina. Peter De Lorenzo dispassionately interrupted our conversation aoout the importance of a single Image which may have the ability t0 embody the sequence, with a query ‘isn’t that a pram rolling down the road?’ as he moved to the doorway t0 gain a clearer view.
It was and it had little legs wriggling in the air and no one attached t0 the handle. As his body tilted to run after it a female turned, saw the momentumous offspring and launched herself successfully after the velocipede. It summed up the exhibition for me. An encapsulation thrust forward in one quick blur.
My glimpse of the powder blue bootied baby’s legs raised skyward moving at speed. Peter’s expression change, The mother’s expression change. The instant of change in her body as her spinal chord reacted to adrenalin. My own slowly comprehending response of Yes and it’s got a kid in it. The scenario. had anyone of those miliinstances been documented may not have necessarily revealed the precise and detailed sequence but. would have resonated a whole range of dire consequences of gelatinous delay. The instant of understanding is what it means .
The instant of irretrievable. irrevocable action, the very instant when change occurs.
I suspect a high velocity pram may lodge itself in one of Peter’s stills counterpoised with one or two other participants. flicking. alternating on one of his rice paper concertinas just as Baptiste and Garance do in their silent movie blue world. These razed remnants Of films and sculptures and postcards are the ah ha result 0f the fast forward. rewind. fast forward, pause, the opportune glimpse registering fifty pages later in an art book, the twentieth removed mediated form. video grabbed. photocopied. printed and welded. Distant past, winged victory, Paris, les Enfants. Ensnarement, the moment 0f seduction. the idea of it, the horror of it all trapped in static blue. Maroon murky slightly evading clear focus, frames of a moving picture.
The gesture of grand Greece, of morbid Greek tragedy hidden and resurrected. This exhibition is about archives found and documented on materials that are ephemeral, photocopying on rice paper, texta colour on acetate. Perverse. Dig up what is so sought after, the quintessential gesture, trap it then watch its degenerated visual form degenerate in material form. Dust to dust.
Grand themes politely and cunningly disguised for unwitting and conditioned eyes.
Co direclo’ Bumie Slreet Gallery
IMPRINT Spring 1993 p15