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David Poolman
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  • HOME
  • DRAWING
    • THE OLD VIEW FROM NOWHERE (ongoing)
    • 36 DORITOS
    • SEVERAL LEDGERS
    • AMALGAMATION OF GENERALIZATION
    • TUMULT
    • SOUTH OF HEAVEN
    • FROM THE WOMB TO THE TOMB
    • START AS YOU WILL GO ON
    • DECOY
  • SCULPTURE
    • MOUSEBALL
    • ARMOUR . CONQUER . BOUNTY
    • SITTIN' ON TOP OF THE WORLD
    • RETREAT
    • PROTEST CANCELLED DUE TO RAIN
    • THERE WAS A TIME WHEN FIRE WAS THE END OF ALL THINGS
    • MINIATURES AND MULTIPLES
    • SHOUT OUTS!
    • APPARENTLY/APPARENTLY NOT
  • VIDEO
    • LAST WORD IN LONESOME IS ME
    • 13 INSTANCES
    • BURNING OF THE NAUVOO TEMPLE
    • 52 USED SHIRTS
    • DEMOS, COVERS, UNRELEASED
    • STAKEOUT!
    • A LITTLE BIT OF NOTHING
  • PRINT
    • EPIGRAPHS/EPIGRAMS
    • PURE BOOTY
    • MOUSEBALL
    • ALL WORDS ARE EMPTY
    • NAUVOO SUITE
  • PHOTOGRAPHY
    • METALHEADS AND PITBULLS
    • OUT OF THE FRAME
    • 13 DAYS
    • MENISCUS
  • cv
  • contact

Decoy

Excerpts
Click image for larger version.
Description
Decoy is a series computer based images that grew out of my installation, apparently/apparently not. This installation, which consisted of over 300 double ended cast and hand painted creatures investigated the futility of movement and the impossibility of flight by a herd of blind, mute, and oblivious creatures as they aimlessly traversed their confined environment in a pathetic attempt to escape.

I was interested in the paradox of our collective decisions or actions as a society in terms of what we assume is progress and the possibilities of digression or descent as we blindly make our way through a contingent, uncompromising existence, taking one step forward and at the same time one step backward as we move through life.

decoy allegorically addresses questions surrounding progress, contingency, determinism, and negation through a series of open-ended narratives from the standpoint of the individual. By adapting and transforming these three dimensional miniatures into still images, I am interested in the metaphorical implications of the mutated anatomy of these creatures and their imprisonment within bodies that are unable to receive sustenance or perceive their environment.

By placing these creatures into a variety of absurd situations, I am compounding their sense of futility and their inability to reconcile movement or change. Situations where a step in any direction would prove fatal, upsetting the fine balance that they must maintain to simply exist.
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