Documentation video of /ˈrɛkɔːd/ installed at Limerick School of Art & Design Graduate Show 2017.
Twin projections (sizes variable)
Hell Bent for Pleather (after Patrick Woodroffe) 2.3 x 2.0m inkjet print on canvas – hand-made frame, wood, pleather, resin, acrylic and metal studs – P.O.A.
a thing constituting a piece of evidence about the past;
a thin plastic disc carrying recorded sound in grooves on each surface, for reproduction by a record player;
a piece or collection of music reproduced on a record or on another medium;
Using the artist’s cherished vinyl collection as a deeply autobiographical catalyst, /ˈrɛkɔːd/ is a series of works which seek to compress and collapse time, creating a temporal confluence between past and present.
The work touches on the associative power of music, its peculiar propensity for bending time, involuntarily transporting the listener to a specific moment or place with vivid, yet unreliable recall. It strives to summon the memory of those teenage years when, for many men at least, a fledgling sense of identity is forged, often through music and subculture, an identity which survives even into middle-age. Once a rocker/punk/hippy/mod/…
Hell Bent for Pleather (after Patrick Woodroffe) takes the patch Horne sewed onto his denim jacket as a 15-year old, a badge of that new identity, and re-imagines it, the same, yet irrevocably transformed by the intervening 35 years.
The multi-layered, backwards performances, and flickering, fragmented album covers disrupt a simple reading of content, mimicking the uncertainty of memory; what emerges is a distilled evocation of a time half-remembered.
Although inevitably tinged with melancholy and nostalgia, /ˈrɛkɔːd/ is a celebratory portrait, both of the artist, and the vinyl generation.