“Acedia” at Our Neon Foe, 2018
Solo painting exhibition.
acedia (ἀκηδία)
Being unconcerned with one's position in life: it read like a radical statement: it was experienced like a loss. One might see the kinds of violence brought by socialisation (on any level), as a reason to leave it all behind. Once I aspired to this state, virtuous spiritual torpor, literally a lack of care, all the allure of utter ambivalence. Acedia: it was said to kill monks in the mediaeval period, apparently the most likely to suicide, or perhaps the more priviliged to have been recorded. There is no hope outside ordinary life, there is nothing else. To be devoted to a reality outside it, is the most objectionable state, and it seems to be the main aspiration of the ruling class. Let them leave us behind, we will live and die by the earth... but even to exist in such a way is to be outside the conditions that we now find ourselves subject to, and we come back to acedia, for want of something so basic, nothing more or less than human.
Panoramic view, image: Andrew Haining.
“Sexualised Workers’ Mural II: Affective Labour” (Triptych), 2018. Acrylic paint (and house
paint) on (found) fabric. Photo: Adrian de Giorgio.
Detail: “Father and Child”, 2018. Acrylic paint (and house paint) on (found) fabric. Photograph: Adrian de Giorgio.
Detail: “After Work” (Diptych), 2018. Acrylic paint (and house paint) on (found) fabric. Photo: Adrian de Giorgio.
Advertisement for show by Adrian de Giorgio.
Work in progess: (”Sexualised Workers’ Mural (Affective Labour)”) mistint on discarded textile. Photo: Adrian de Giorgio.
Work in Progress: “Father and Child”, 2018 (back view). Photograph: Adrian de Giorgio.