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| My life in this apartment started in the beginning of 1969, previously I had shared thirteen different homes with family, friends and strangers; it has been my home ever since. Initially I occupied it with others, one in many ways become a rock icon (SYD BARRETT), who still draws the odd pilgrim to my door looking for his long departed traces. There are three rooms, hallway, kitchen, bathroom and balcony, overlooking a now traffic-calmed street of Edwardian mansion blocks, lined with London plane trees watched leafless, come into bud, leaf, and fall again, whatever has gone on inside this space, the constant immediate vision of the outside world.
The space I inhabit, in one way or another, began to be photographed over 30 years ago. Pictures of it have been shown somewhere in a magazine, book, exhibition of some sort, every year since. Published in Australia, Russia, Japan, U.S.A, France, Holland, South Africa, Germany, Italy, U.K, exhibited in the Victoria And Albert Museum, filmed for television here, in Poland, Germany, France, U.S.A, Russia, Japan, it started being labelled åRetro¾ in the early 1970s, a ¼Gesamkunstwerk¼ by the mid å70s, defined as åPost-Modern¼ in 1977. Many attempts at self-definition later, in the mid 1990s, I formulated my MAXIMALism mini-manifesto. Co-existing with a creative entry into the virtual space of digitised computer-generated media, came the words that attempted to fix the concept, MAXIMALism=minimalism with a plus, plus, plus.
Furniture is mostly made for, or customised by me, alongside found period pieces from markets, skips, and gifts, chosen when on the edge of taste, now often found in contemporary reproduction. The background is predominately white, the floor grey, black accents throughout. Reflections, in the mirror-panels which have slowly spread over the apartment, in doors, around window-frames, avoiding wall-space where a painting might hang, create myriad small patches of light and colour, vistas multiplying both space and imagery. Throughout this, the paintings present their own views into otherness, at the same time being of and reflecting the space they were made in, exist in now, are an intrinsic part of. Images, from the past side-by-side with those of the present, in a cyclic progress from art manifesting in life manifesting in art, or at least some kind of expression of it.
The digital added dimensions to what were hitherto possibilities, bringing new ability/learning previously impossible/improbable, adding to what I now find myself doing. The result partially of my over-full, over-lived-in dwelling, need waiting to be fulfilled/defined. Concurrently, occupying both spaces, the constant awareness of self flows inward and outward to include the objects of extended identity, now into the virtual timeless space of the digital that appears to have no boundaries, now back into the real. Living with a plus, plus, plus, sometimes. / DUGGIE FIELDS. JUNE 2003
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