Satan Knew This Was Coming

MFA Thesis Exhibition

Gallery Walk Thru:


Taken from the end of my thesis paper (linked below):

“The details in the photos themselves reflect my own daily living environment in Halifax. The term ecology is in part rooted in the Greek work oikos “house, dwelling place, habitation”, the space in which we live. It felt appropriate to have my current living space as the locus of these photo acts.

In this installation space, I felt it was important to organize the photo cassettes in ways that activated the body of the viewer. I hoped that there could be a questioning mode brought out in the space guided by haptic tangibility of manifest indeterminacies. As the photographic images have become dislodged from their context, I hoped to call into question the role of locality for what is currently present, emerging, and withdrawing. The two extremes of

Satan Knew This Was Coming

and

You Knew This Was Coming

are orienting declarations

not taken for their truth values but instead

existing in a space of evaluation

whose syntax points towards the presence of uncertainty and the

yet to be determined future”

 

Evan Peacock Thesis Archive Doc

 

Evan Peacock Thesis Archive DocEvan Peacock Thesis Archive Doc copy 2Evan Peacock Thesis Archive Doc copy 3Evan Peacock Thesis Archive Doc copy 4Evan Peacock Thesis Archive Doc copy 5Evan Peacock Thesis Archive Doc copy 6Evan Peacock Thesis Archive Doc copy 7Evan Peacock Thesis Archive Doc copy 8Evan Peacock Thesis Archive Doc copy 9Evan Peacock Thesis Archive Doc copy 10Evan Peacock Thesis Archive Doc copy 11Evan Peacock Thesis Archive Doc copy 12Evan Peacock Thesis Archive Doc copy 13Evan Peacock Thesis Archive Doc copy 14Evan Peacock Thesis Archive Doc copy 15Evan Peacock Thesis Archive Doc copy 16
All images within the cassettes were shot on the Fujifilm instax Wide 300.
Each cassette is filled with all of the remaining shots taken for this series.
The thesis was originally printed on Thermochromatic Receipt Printer Paper.
Scans of the thesis are found in the attached pdf (found above).

Decaying Reproductions of Found Object

Scans of the found object
( some sort o children’s colour cardpaper (I don’t know who drew these images))
Both sides were scanned to produce a card deck, given away to attendees of the NSCAD MFA Group Exhibition held at the Anna Leonowens Gallery. (november 15-26.2016)
[[NOTE: THIS POST IS NOT COMPLETE. MORE IMAGES OF THE CARDS TO FOLLOW]]

Portfolio

Works used for portfolio submissions.

Out of Focus Human Faces

Typology: Out of Focus Human Faces
Photographic exploration of cognitive infrastructure. Typology of facial patterns.

Instant Sensation of Vaporization
Instant Sensation of Vaporization
Oil painting depicting a human being being instantly burnt to death in a wave of heat (from the perspective of the individual’s perception).

Japanese For ‘The End’
This particular video was made to be coherently incomprehensible; with the aid/in search of memory, language, mechanics, light, memetics, etc.
RBgRBe
RBjRBa

RBbig
Selected Works from Roloff Beny Expedition
An artist expedition facilitated by the Roloff Beny travel scholarship produced a documentary (linked below) and a series of photographic works. The trip took place in South America (Rapa Nui and Chile).

State of Entanglement
This is the first cut of State of Entanglement. A re-cut is planned for an eventual release.

P E R S P E C T I V E
Half lecture film, half documentary portrait of my father, State of Entanglement is a

Selected Works from P.4 The Trap That Failed    

a

c

d

b

f

e

g

h

i

m

l

k

                                               An extended series of automatic drawings. The images are intended to initially co-respond to subjective memories and impulses. Beyond the initial moment of contact with the sketch page object sculptures, I wanted the drawings to have an fluid quality in which mental perceptions/hallucinations can hopefully ebb and flow.

These drawings are compiled in a book
repeating form ((when nervous))

At the time of etching/hatching, I was very enamoured with the proto-surrealist writer Raymond Roussel.  A passage, such as this (line 505 from Roussel’s poem: New Impressions of Africa), displays the style of lucidity that was of chief concern for Roussel.

-At a fisherman’s, for a louse in a hairnet,
A lazy spider exploring a dragnet;)))),

This balance of sense and nonsense is something I strive for in my own work.