Robert Becraft

Robert Becraft

Robert Becraft

I am interested at the moment, more literally and physically rather than in a metaphorical sense, in potential movements between what is vaporous, liquid, and solid their repetition, transformation, and expansion. Akin to what Belgian painter Luc Tuymans talks about in relation to Poloroids, "as liquid in which an image appears." (in an interview with Modern Painters, Oct. 2007). Or to what Cornelia Butler describes as "raucously casual piles of material," "[pushed] around, in a way mimicking the gestures learned from Expressionist painting," noting treatments of industrial refuse by fledgling Process artists in the 60s (exhibition catalogue to Afterimage: Drawing Through Process). On a formally opposing axis, there is the Pop-art methodology of producing copies of copies, combining and recombining surplus images with surplus meaning, flattening images and expanding them.

For my own purposes, this entails two separate modes of operation: One involving liquid dyes and an industrial plasticizer, the exact medium used by LA light show troupe Single Winged Turquois Bird in the late 60's, and another, to organize and transpose stills culled from self-produced photos of sets and props, but flattened in a similar fashion to Pop art, or Xeroxed punk rock flyers beginning with and influenced by Jamie Reid. In my new work I am hoping to make these two elements, the graphic and material, and the obfuscation and expansion of them, inform one another.

William Burroughs writes in the introduction to JG Ballard's book Love and Napalm, "The magnification of image to the point where it becomes unrecognizable is a key note of Love and Napalm. This is what Bob Rauschenburg is doing in art literally blowing up the image...the line between inner and outer landscapes is breaking down." This scaling and fragmentation, are more than a device in engaging in what I would like to delineate between the graphic and material, the flat and amorphous, they are a basis in constructing space, and hopefully, time. I would like to explore the relationship transitive set-ups in the studio, (which we only see parts of) have to still images, and their place in moving images. I would like to make them into sources of reference as equal as a found image or a scene from the Atrocity Exhibition in Love and Napalm.

This could be part of the equation in revisiting and finishing my last film Play-doh, trimming out incongruous elements, those that make an external referene without an elaboration, and restricting them to a set of codes in line with what I have established as a process.


Shane Anderson
Robert Becraft
Susy Bielak
Crystal Z Campbell
Micha Cardenas
Mauricio Chernovetzky
Lili Chin
Ted Chung
Leigh Cole
Matthew Coors
Micki Davis
Noah Doely
Rob Duarte
Monica Duncan
James Enos
Kael Greco
Chris Head
Nico Herbst
Glenna Jennings
Merve Kayan
Anna Chiaretta Lavatelli
Vince Manganello

Esteban Martinez
Dolissa Medina
Elle Mehrmand
Gretchen Mercedes
Charles G Miller
Jesse Mockrin
Zac Monday
Zac Kime Montanaro
Sheryl Oring
Clare Parry
Omar Pimienta
Brianna Rigg
Lesha Rodriguez
Louis M. Schmidt
Tim Schwartz
Jerry Truong
Yvonne Venegas
Julia Westerbeke
David White
Andrew Wilson
Suzanne Wright
Claire Zitzow