I'm not sure what I made of Frieze yesterday, to be honest. I hear a lot of derogatory bleats, usually the loudest by artists with more than a note of jealousy. Yet however you look at it, Frieze has to be recognised as some kind of an indicator of the art world. Good or bad.

I won't bother talking about the best/worst, others do better. For my own benefit I'm trying to pinpoint something of a sense of it all. A couple of things stuck out. Firstly, there seemed to be a great deal more painting than I recall from last year. Secondly, overall it seemed less extravagant, or rather, less Emporor's-New-Clothes. Thirdly, I heard transactions being negotiated.

Lastly, (I have long had an inkling of this) I became certain that the line that separates me and some of my artist friends and colleagues and a presence at Frieze and the like is arbitrary and entirely illusory. Yes, it is simplistic, but often if you cut out the crap you end up with something very clear. I'm sure this sounds horribly arrogant, but it isn't like that at all. These images speak for themselves.

I could also see that the new work I am in the process of making should be able to find a home. Somewhere. I just need to establish where that is....


  1. This is a message from Jeannie as she wasn't able to post it:

    HI Phil

    um- interesting, do you know who did the shredded piece or the gallery representing? my "rising tides of Bureaucracy' installation at Aspex gallery received great responses - just need some recognition. Anyone know where the art ladders are?!


  2. Hi Jeannie, annoyingly the photo of the name/title got corrupted. I know it was dated 2010. If I find out I'll let you know. I loved your installation at Aspex, not surprisingly I thought this was your piece at first. Phil