Page 27 - Studio International - September 1967

Below: Infra red frankfurter roast and eater—fallout shelter 4.
July—September 1965
pencil and coloured pencils, 22 x 15 in.

Right: Chesterfield settee August 1964
pencil, 15 x 22 in.

Lower right: Picasso (forgery) and thermonuclear explosion 1966
ink and pencil, 15 x 22 in.

I like snapshots of amazing or mysterious events, like vision (Ephemeral).
that Japanese mountaineer's photos of the airliner The immediacy of machinery, whose forms, created
breaking up and crashing into Mount Fuji. It's the for their functional value, have brought with them new
witnessing. To witness. beauty and rhythm.
Displacement and upheaval of peoples, animals and Many purely functional objects are manufactured
minerals from their natural haunts and formations which have an extremely potent purely visual force. It
(Zoos, Belsen, etc.). Chain reaction caused by this. is a logical step to borrow (foster) these objects for use
Awful ugliness in the photo I have of the blue whale as I personally see them. To arrange them. My view of
which has been dragged from the sea, where it fits, them is my own. Priority of one image over another, in
functions (and looks beautiful) to the factory. The my mind, is something personal. The act of fostering
great gaping mess of flesh whose collapsing rib cage rather than conceiving.
causes its suffocation by the extra gravitational pull Oriental art forms. Their difference to Western art-and
in the air. their validity. (Moon gazing parties, asymetrical raku
Its colouring is now wrong, shape-everything is wrong. pottery, Noh plays, etc.).
I enjoy the way museums present peoples. Antique
trivia on velvet backgrounds, broken fragments of pots
displayed and guarded. Most important thing (the
People) being missing. In time our records become us.
The hot-dogs were created incorporating that 'museum' [Notes from Nov 1965 to Jan 1967]