A Performance at Hog Theatre no. 2
Round and red. A beach ball, or perhaps a large planet with clawed feet fills the centre of the room. It has thin plastic skin, a soft glowing atmosphere made up of various gasses. On the surface you notice large rings, scorch – marked craters. They remind you exactly of when you momentarily left the frying pan on your favourite red jumper. The pattern is so similar you begin to question whether it is actually ‘that’ red jumper, maybe someone thought it would be funny to disguise it, cut it up, modify it...
Maybe it's something to do with 'Today'.
After a while, you come back to your senses. Realising that it could not be your scorch-marked jumper with its panda bear eyes, you notice that the round object has started to slowly drift by. You forgot that there is a door (wide open) in the furthermost corner for the sphere to easily pass through.
Maybe it's something to do with tangled portraits or disguise,
or tangled disguise.
As the sphere drifts slower, slower and slower out of the room, you imagine it really is a plastic beach ball that someone has kicked high. It rises, catching the wind and spirals up. Up, up, further and further it fly’s until you can no longer distinguish between the ball and the planets it has now made friends with.
Maybe it's starstruck,
Frasier's notes on his practice - I don’t want to force anything into my work, it has to be natural, unless it is obviously forced. My process is impulsive and considered. I like contradiction. I like when something is off and awkward. When something is on the edge of looking wrong; or just looks wrong. There is a link between drawing and painting. My drawing informs my painting and vice versa. I recycle, evolve and merge together characters and motifs that I carry throughout my work. I find satisfaction in things that do not fit together. When you can’t tell if someone is joking or serious. Confusion, distrust. For a work to be finished it has to be on the edge of being good/bad, me liking it/not liking it. The work is unsure.
Based between Manchester and Bristol, Isaac Jordan’s work presents fragmented, tentative images where at times nothing is as important as something. Working across painting, drawing, animation and collaboration. The artist's work has been exhibited in group shows such as Why Smash Atoms, PS Mirabel, Manchester, Herb Juke, The Talleyrand, Manchester, Micro, AIR Gallery, Altrincham, That Chopping Sound, SPACE Gallery, Bristol, Fake Covers for Fake Music, Hilbertraum, Berlin.