Pre-2008-Crash Time-Capsules

The Sad but necessary demolition of some older pieces of work.

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Although I wouldn’t really call these pieces of work sculpture – they were more accompaniments to my drawings, mounds rising up to slightly obscure the pieces I was showcasing/like a weight on a stressed chest that won’t go away (guilt of being part of/wedded into the trappings of a destructively consumptive society) – they certainly shared the demand for storage space that sculpture demands. Unfortunately for most of us, such space just isn’t available (I genuinely believe the main difference between sculptors and painters/drawing-based artists, is that access to ample of space to expand into to is a necessity before you even begin to contemplate being a sculptor).

Images ftom exhibition 'The Healing Process'. r

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These pieces of work were made in 2008, and became crammed into a shed with other works. The began to get damaged, but they were beginning to damage other, less damaged works. So, to save those works, I decided that these works would have to be demolished. They were originally part of an installation called ‘The Healing Process’ which I exhibited in the fall of 2008 (healing, as a coming to terms with things, a gradual greening over of scars on the landscape I grew up in, reflecting a hope for a gradual healing over of psychological scars I’d carried with me for some years). Yet I made them from waste and fly-tipped material (largely non-recyclable, except for the newspaper used for Papier-Mache) in the summer of 2008, before it became aware to everybody that we were amidst a huge financial crisis.

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Largely because I am overly concerned with the notion that time as become (even further) out of joint since then I was quite keen to document all that stuff that hasn’t seen light of day since summer 2008. The pre 2008-crash point feels like another epoch whilst it still only seems like yesterday, amidst the austerity-age logic, and superstitiously-embedded faith that things will ‘return to normal’, our experience of time is spinning on a stuck broken record. This meant that it felt weirdly like uncovering relics to a world only 5 minutes past.

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Demolishing them, kind of also felt like knocking down old buildings with the interior of somewhere once lived-in in full sight. Truth be told, the items, even the shards of newspaper stories bear no real difference to what they would look like now, it isn’t as if the world of seeming permanent austerity looks that different – yet something is different, and opening up these soon to be destroyed pieces of work made me think of this difference.

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About John Ledger

A visual Artist, eternal meanderer and obsessive self-reflector by nature, who can’t help but try to interpret everything from within the tide of society. His works predominantly take the form of large scale ballpoint pen landscape drawings and map-making as social/psychological note-making. They are slowly-accumulating responses to crises inflicted upon the self in the perplexing, fearful, empty, and often personality-erasing human world.

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  1. My 2014 | John Ledger - January 1, 2015

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