The Jungle 01, 2012, xerox transparency, framers tape, enamel. 24" x 28.5"
As I said earlier Conrad did not originate the image of Africa which we find in his book. It was and is the dominant image of Africa in the Western imagination and Conrad merely brought the peculiar gifts of his own mind to bear on it. For reasons which can certainly use close psychological inquiry the West seems to suffer deep anxieties about the precariousness of its civilization and to have a need for constant reassurance by comparison with Africa. If Europe, advancing in civilization, could cast a backward glance periodically at Africa trapped in primordial barbarity it could say with faith and feeling: There go I but for the grace of God. Africa is to Europe as the picture is to Dorian Gray -- a carrier onto whom the master unloads his physical and moral deformities so that he may go forward, erect and immaculate. Consequently Africa is something to be avoided just as the picture has to be hidden away to safeguard the man's jeopardous integrity. Keep away from Africa, or else! Mr. Kurtz of Heart of Darkness should have heeded that warning and the prowling horror in his heart would have kept its place, chained to its lair. But he foolishly exposed himself to the wild irresistible allure of the jungle and lo! the darkness found him out. - Achebe, Chinua. "An Image of Africa: Racism in Conrad's 'Heart of Darkness'"
The Auspice, 2010. gold plated brass, resin, fabric, pulley system. body 24" x 10" x 10", installation variable
The Auspice [detail], 2010. gold plated brass, resin, fabric, pulley system. body 24" x 10" x 10", installation variable
The Jungle 05, 2012, xerox transparency over c-print, enamel. 12" x 11"
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