SOMEWHERE BETWEEN:

Perth City, Australia

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JOSHUA WEBB
www.joshuawebb.com.au
SOMEWHERE BETWEEN: Disco Donkey on Fire & Do Donkeys Bleed Blue Blood in Space. 2010
Styrofoam, plaster, epoxy resin, fluorescent lights and Karl Marx's severed Head.
1.2 x 0.9 x 2.1m (LxWxH)
APATHY FOR THE SETTING SUN. 2010
Cast plastic unions, fluorescent lights and candles eventually extinguished by institutional policy.
3 x 3 x 2.5m (LxWxH)

APATHY FOR THE SETTING SUN, 2010 – refers to the idea that the sun sets over a thousand times a day all over the world. Begging the question whether this nostalgic moment, this constant state of setting could have any significance. The object when seen in the context of the title becomes an artificial sun; it represents the centre, the protector, the provider of warmth and life, while simultaneously expressing the latent explosive danger inherent in the technological and eternal hydrogen bomb. The work is supposed to mirror its own agendum, as the romanticism of the naked flame, the natural light (the candle) has been extinguished by the infrastructure that supports the synthetic florescent light. The work is also a gesture towards the age of late capitalism.
New Dawn. 2008
Still from 6mins High Definition digital Video loop.
New Violence Exhibition. Galerie Dusseldorf, Perth, Australia

An angel is depicted there who looks as though he were about to distance himself from something, which he is staring at. His eyes are opened wide, his mouth stands open and his wings are outstretched. The Angel of History must look just so. His face is turned towards the past. Where we see the appearance of a chain of events, he sees one single catastrophe, which unceasingly piles rubble on top of rubble and hurls it before his feet. He would like to pause for a moment so fair, to awaken the dead and to piece together what has been smashed. But a storm is blowing from Paradise; it has caught itself up in his wings and is so strong that the Angel can no longer close them. The storm drives him irresistibly into the future, to which his back is turned, while the rubble-heap before him grows sky-high. That which we call progress, is this storm.

Walter Benjamin 1940. Theses on the Philosophy of History
FUTURE MADE: FUTURE BUILT. 2009/10
High definition digital video (1920x1080)
12.10 minutes

In this divided self, the other, a jealous rival, constituted yet an-other condition of subjectivity, and the work of art, based on the existence of a symmetrical and brilliant double, assured the possibility of a reflective shuttling back and forth, of a harmonious or painful synthesis of opposing impulses.
(Melchinoe~Bonnet 2001 p264)
Captain of your soul. 2010
4.30 minutes - looped high definition digital film & sculptural installation
Detail: Sculptural version, 300x300x800mm (LxWxH) – (fire, candles, duct tape and a urethane arm) is
transformed into a glistening ghettoised abstraction of a chandelier, spinning towards entropic collapse
within a black void.
Give them the FUTURE. 2009
235 Westminister St, Providence RI, USA. PYT: Pretty Young Thing.
2.3 x 2.2 x 2.5m (LxWxH)
Original Universal Union, acrylic resin, computer simulated smashed acrylic sheet (laser cut ), paper, plastic & florescent lights.
Three Kings. 2010
Concrete, plaster, decapitated plastic head of Balthasar, duct tape, mirrored Perspex and a Homelite chainsaw.
Balthasar is the name attributed to the Biblical Magi who, as one of the Three Wise Men offered the gift of gold to Christ.
30x30x120 cm (LxWxH)