Merely to breathe was enjoyment (right and left)

Full description

Background
Thinkers informing the research include Isabelle Graw, David Joselit, T. J. Clark, Dexter Dalwood, Moran Sheleg, Harold Bloom, DJ Shadow.
What is originality? How can Bloom’s anxiety of influence be articulated in a painting?
Via this work I ask how Bloom’s theory that poetry develops through misunderstanding (misprision) can be articulated as a painting. Bloom uses 6 categories to describe how poetry develops. I ask if 2 of these - Clinamen (misprision) and Apophrades (the return of the dead) can be synthesised to create a 7th category provisionally termed Redeeming Stupid Concepts Through Painting (I am still searching for a Bloomesque classical term).
Contribution
The work shows an accumulation of visual fragments hijacked from secondary art market auction house catalogues in Australia. The work contributes to the discourse regarding collage and painting. I haven’t had a work presented at the secondary art market (apparently one of the signs of a successful career) so by default all the fragments are taken from other artists’ works. I ask if this method can be used to construct a viable new work… what is originality? Is this merely a belated painted answer to DJ Shadow’s 1996 release ‘Entroducing’ (the first album where everything was sampled)?
Significance
The work was exhibited at Wimbledon College of Arts and Lincoln University in the UK - given the source material, I ask if the significance of the work is contingent on the locale of its exhibition. The work was also exhibited at the Vincom Centre for Contemporary Art in Hanoi in a curated exhibition that surveyed painting and sculptural practices in the Asian region. That the work is made from images taken from secondary art market auction house catalogues then exhibited in a communist country without a secondary art market can only add to the possibilities of misprision and its significance.