This publication was produced to coincide with the exhibition Damian Moppett: The Visible Work, curated by Jenifer Papararo, held at the Contemporary Art Gallery, March 18 to April 24, 2005. The publication was designed by Damian Moppett and Timmings & Debay (original design concept based on Nova Scotia Series: Source Materials of the Contemporary Arts, ed. by Benjamin H.D. Buchloch. In particular Carl Andre, Hollis Frampton: 12 Dialogues 1962-1963 (Halifax, NS: The Press of the Nova Scotia College of Art and Design and New York University Press, 1982). The publication contains essays by Jenifer Papararo, John Welchman and Nathaniel Heisler.
Damian Moppett’s practice questions notions of mastery. For his exhibition at the CAG, Moppet brought together three distinct crafts: drawing, ceramics and music. He is interested in the idea of learning a craft, but wants to avoid the exterior and traditional criteria with which proficiency or mastery is judged. He spent six months learning how to throw clay pots working up from a simple hollow container to a more complex tea pot. His drawings reference vernacular and illustrative styles. He uses them as a form of documentation of his art practice and as a means to literally represent his cultural influences. He incorporated music into the exhibition through a series of four videos that highlighted all the technical skills needed to set up a rock band. The music becomes secondary to the material need to make music. Within each medium he presents a modest level of skill and attempts to avoid the creation of a spectacle in part by privileging the process over the finished object and by avoiding, to a certain degree, the tropes of each medium.
- Jenifer PapararoMORE