It is a very peculiar kind of catalogue. Instead of documenting the work as objectively as possible, all of the images are hand drawn in intaglio or woodcut. The representations of the work slowly become more and more different from the original artworks. Instead of objective documentation, it begins to report more how I felt about the thesis work, what I feared and hoped about it, but what may not have been true. The thesis pieces were primarily large black and white photographs, all of which show me performing ambiguous tasks in front of a white wall. I manipulated the photographs heavily after development: sanding them, drawing on them, applying linseed oil and pigment that slowly dragged down the paper.
The catalogue works with an idea borrowed from The Portrait of Dorian Gray: that the work of art ages in a way that humans normally do: we grow hair in places we don't want it, while we loose it where we do want it. The photographs in this catalogue grow hair, they loose their hair, they grow bellies, they fall off the wall, and generally become things they never anticipated being in their youth.
There are three pieces from the thesis work included on this page, at the end of the selections below.
