Night Flower, London IV, 2004
50.8 x 60.96 cm / 20 x 24 in
Vintage lamda print, printed circa 2004/05 by Tapestry
Non editioned multiple
Certificate of authenticity
‘…There is a another tap on the door. Which you now, slowly, pull open …knowing who is going to be there – a psychopath with fermenting breath and too much beer inside, someone who is both Republican and Loyalist, and who informs you that you are considered a burden on your community. It is you. THE PERSON AT THE DOOR IS YOU: YOU HAVE GRASSED YOURSELF, AND YOU ARE GOING TO BEAT YOURSELF UP. Holy God – not only are you the wrong religion, politics or faction, or a druggie instead of an alkie (or perhaps a figurative painter, whereas you should be a conceptually based visual artist, working in photography, or vice versa), but your trousers/ cardigan/ skirt are indeed quite, quite wrong. You are deeply uncool, AND YOU ARE GOING TO BEAT YOURSELF UP …
Thus insulted, your low self-esteem or helplessness requires you to bow to the inexorable righteousness of a profoundly negative auto-destruction, which means there is no exit out back – no lightly jumping over the garden wall as is done in films. Silhouetted in the murderous sodium streetlight you stand, the two yourselfs, each looking at the other, in an ancient complicity of divided torment. Into the rain and cold you go – maybe observing out of the corner of your eye something incongruously inappropriate to your situation. Something like Night Flowers, (2002) whose strange beauty causes you to wince.
On you go, each of the two of you, to a place where you will inflict on yourself crude agonies of pain, of such miserable effectiveness, that you may be permanently disfigured, mentally and physically; suffering a trauma so severe that you may – blessedly – lose consciousness, or worse: perhaps lapse into coma, or bleed to death …motherless, fatherless, alone.’