WE SHALL COME OVER
In a twist on the original emotive slogan 'we shall overcome','We Shall Come Over' indicates an error of contemporary proportions. Applicable in a myriad of pertinent ways ranging from the profound to the down-right jocularWSCO adopts the ultramodern trope of truthlessness and its bedfellow certainty to raise the sail of a new journey, one without stops or destinations.
Artworks are no holidays, no longer refreshing intervals of otherness in between solid sections of real life. Artworks are no less vulnerable to the one-way tides of human progressions than humans themselves and as such become stepping stones over which the stones will skip, on route the next port of nowhere.
Most of you will not come to the CCA Andratx, it will exist in your mindseye as an inaccurate compilation of personal data in the same way it does for the artists in residence before they arrive. Take our word, however, as the sedentary masses once took the words of travelling sailors, CCA Andratx is a place where the temporary suspension of reality is real, allowing for a less subjective view of a world in flight from itself, and a trail of words that lead away from meaning, and instead to the simple assertion that there is ideed life on Earth.
For this reason we also present the exhibition via the internet and its associated outlets (@weshallcomeover on instagram), and suggest that this experience is as real, if not more real in its own Platonic way.WSCO reminds us of the ensueing upheaval of movement only just getting started in the early 21st Century. When the Towers came down, all bets were off. All that we thought of as permanent was instantly uprooted, loosed from its mooring, and began drifting in the warm and rising sea, heralding a new age of dislocation. The Great Migration is underway, and it is as much a movement of the mind away from the default position of Nationhood, and the sedentary notion of self. We will up-sticks as the populations' collective brain outmaneuvers itself, and the people accrue God-like powers for themselves. We will worship ourselves. God above is one of our own who sits in a space station and answers us back directly. Time, space, and even reality are pliable commodities available to all - for the right price.We shall come over, and we shall continue coming over until we finally make the ultimate leap across space itself to find a new type of home on a new type of planet. We are all aliens here.
©Shane Bradford 2017
SHANE BRADFORD (UK, 1971) is a London-based artist who spent the formative years of his childhood in the US, before his family were ‘voluntarily’ deported for his parents’ lack of working-visa after teaching art at San Diego State University California for five years. This sudden moving away from home, friends and the world as he knew it, has influenced his artistic practice from the day he started making art. Taking as starting point the phrase by the philosopher Paul Virilio “Static Vehicle”, Bradford deepens into his concerns on migration, transport and the speed of change. During his residency in the CCA Studios he has continued to expand this investigation of “static vehicles” by using local material to create sculptures, perhaps as a search for answers.
The sculptures included in the show simulate the notion of a vehicle or a home – perhaps even a temporary home as the studio he is living in himself in Andratx at the moment – but is it build to shelter or to reject? Bradford is fascinated with the “the fast-moving present-future” he says, and his signature of dipping, can be seen as the perfect marriage of process and concept. There is no doubt that the dialogue he creates between process and subject matter reflects his own person, as well as the current state of a world dominated by migration on a scale of potentially Biblical proportions. This way we see how Bradford manages to trace the path from the personal to the universal.