Tribute to the past.
This concerns the creation (assemblage) of art with the use of remnants of construction / demolition, and of found objects (‘art des objets trouvés).
Material that passed the intended life-time, think of fallen branches, cut trees, lies prey to rot and worm. This leads to a new structure - temporarily - until the phase of composting is reached. Take the item in this phase, and highlight the form still present, by accentuating the resistant part. Indeed, the scraping and rasping of the more rotten, decayed parts, also makes visible the nature of decay. The firmer, robust parts define the new shape. At safe distance from ourselves, transcience becomes tangible.
Comparable is the picking of material, that once was assigned a specific function, but that - in the eyes of the human, lost it. Form and function are bound tightly. Often, these are still recognizable, if such items are found amongst demolition material. The saw, hammer and chisel used at demolition, affect this form (and function), but often there remain enough elements of recognition.
By leaving the wear of material, on the one hand, and by accentuation (transparent lacquer) it, and by, on the other hand, repairing holes and cracks and by painting these smoothly, I make visible the wear, decay as well as the original function of one and the same item,. The fact that such items may be grasped from a container, stipulates the naked essence, that the human has discarded it. An artist making tribute to such material, demonstrates resistance against a society taking disposition as central. The incorporation or transformation into a piece of art, does not lead to any improvement towards a society less prone for disposition. But perhaps it
leads to reflection, or a smile.
Drager Meurtant, 2013
<further reading: Drager Meurtant, "Assemblages: the entrails explained", in Axon Journal, Issue 9 (Assemblage, 2015) link: https://www.axonjournal.com.au/author/drager-meurtant>