In 'What happens to a fruit that blossoms twice?' Hopper has assembled detrius of a conciousness within U.K. politcal discourse, using it to establish the site of work. A site where nostalgia is understood as the future, one where images and rhetoric are insipid, dangerous and brandished and each glance in person or writing an unabashed surmisation in our information overloaded world where regardless we continue to believe we induvidually know better: that we understand, that simplifications are other than brazen self-service.
A Brittish nihilism and an art nihilism melded: What does austerity do? Demarcation, severence, yeild, detrius. Can a degree be hewn from an art school in the manner of sculpture from stone? Yes, it can be almost free, fighting scarcity may even reduce costs.
Objects are presented as they are, dim and dumb, but what they represent's affect is revealed as manipulation. A studio wall debossed with a powerful cliche, mounted on a studio wall with a rubbing discarded beneath, transparent with greese this is an image of an image about image in a medium about images, images recurring and remaining flat, monochrome and part of the background, just superficial; plasters for complicated questions. Relative meanings, empty meanings. The bull isnt strong the bull is rearguard, the lion isn't proud the lion is phyrric, the flag isn't a logo the flag is a weapon, the man isn't right man is stupid, the tear isn't a tear the tear is a drip. The fruit isn't new it's been there all year.
Photography by Bethany Grace and Hopper. 'Dual' a hole-in-the-wall colaboration with Dylan Meade.
'It may last forever, but its not the future.'