The term ‘rotten-ripe’ is originally printed in a socialist magazine from 1972 and is paired with the word ‘urgency’ in order to provoke an onlooker into spending a moment of their time with the poster. The notion of something being so rotten that it becomes ripe, or so ripe that it becomes rotten, is a dynamic akin to the way in which the artist feels towards NeoCapitalist memory. How does NeoCapitalism deal with the archive, and how does the archive deal with NeoCapitalism? Alternative narratives that do not follow the lineage of economic success are often lost; de-centralised histories explaining existence (within a value system created to only benefit profit) are often embedded in sites of decay or embodied in persons marginalised by our current epoch.
Drawing the poster became an exercise in creating an archive of marks. Many layers of pencil lines and shading join to make up images of shiny olives and rotting fruits, cascading down the surface of the drawing as symbols of decaying NeoCapitalist decadence and the flourishing of radical possibility that this decay could harbour. Nettles represent resilience, promoting an active engagement in the uncovering of alternative knowledges that lie beneath surface image. Friction is performed between every line in order to evoke a sense of active rotting – rotting that sprouts different perspectives or uncovers voices that may have been slicked over or squashed down. The ignored archive is possibly the most fertile.
The ignored archive is possibly the most fertile,
Pencil and charcoal on salvaged cartridge paper,
98 cm x 72.5 cm