Michael Oedoen Erdész
STILLS triptych - duraclear on lightbox, 2023
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HEATWAVE triptych - duraclear on lightbox, 2023
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SYLPHEN TRILL Pigment on lycra, oil on perspex, oil on unprocessed Duratrans film, adhesive film, gaffer tape, mirror glass, 1 channel video on info-point, 3
sec (loop), 2021
High Chelmer Shopping Centre, Essex, England
During a temporary residence in the former Topshop of High Chelmer Shopping Centre, I created ‘Sylphen Trill’ (2021) citing Canadian image-making, cinematography and tropes, including a cryptamnesic reworking of the Canadian Film Board logo. This work is barely sculpture at 23 meters long, in suspended printed Lycra and a looming painting on reflective perspex. In trying to connect the adjacent Chelmsford Cathedral to the central square of adjacent shopping centre in its current form, I revealed my own interest in divination and augury as a means of commenting on how faith governs contemporary belief and decision-making. The suggested reading of an ill-defined subject’s future is described by ‘wandering’ drawings, mark-making and the shapes of foam blocks systematically pulled apart from their perforated order. By trying to re-enchant this civic space, I recalled the suburbia of my childhood, the peculiarly tentative memory of a now demolished strip-mall, comingled with the that of the enduring ‘Flight Stop’ (1979) by Michael Snow in the atrium of the The Eaton Centre in Toronto, Canada, and the numinous tenor of the Canadian Film Board emblem.
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High Chelmer Shopping Centre, Essex, England
During a temporary residence in the former Topshop of High Chelmer Shopping Centre, I created ‘Sylphen Trill’ (2021) citing Canadian image-making, cinematography and tropes, including a cryptamnesic reworking of the Canadian Film Board logo. This work is barely sculpture at 23 meters long, in suspended printed Lycra and a looming painting on reflective perspex. In trying to connect the adjacent Chelmsford Cathedral to the central square of adjacent shopping centre in its current form, I revealed my own interest in divination and augury as a means of commenting on how faith governs contemporary belief and decision-making. The suggested reading of an ill-defined subject’s future is described by ‘wandering’ drawings, mark-making and the shapes of foam blocks systematically pulled apart from their perforated order. By trying to re-enchant this civic space, I recalled the suburbia of my childhood, the peculiarly tentative memory of a now demolished strip-mall, comingled with the that of the enduring ‘Flight Stop’ (1979) by Michael Snow in the atrium of the The Eaton Centre in Toronto, Canada, and the numinous tenor of the Canadian Film Board emblem.
CROWN OF LANGUOR 1 channel digital projection, 15 s, 2021
FAILED DREAMS, OLYMPIA Pigment on Lycra, 2022
