Thomas Hollingworth : Your drawings could be interpreted as depicting the inside of a crèche twenty years after everyone in the outside world had been killed by some apocalyptic event or other, at which time the inhabitants of the crèche were too young to have been properly taught how to use a doorknob. In this context, your drawings could be interpreted as a powerful message about how essential education is to human life and to society as a whole. In any other context, your drawings could only be interpreted as a load of skinny people fucking. Which is it?
Michael Bilsborough : Sometimes, it’s a load of skinny people fucking, but often, they are fumbling and grasping aimlessly. Either way, some figures seem isolated, oblivious, or lost; even despite the densely populated mise en scene. So the fucking isn’t central.
The drawings embrace art history, which implies embracing education. But they definitely aren’t meant as prophetic messages about education! I think “apocalyptic” fits, and how could we avoid that? The planet is melting and we’re on the verge of successive wars. Then again, “apocalyptic” belongs to science fiction, which doesn’t describe the drawings.
I had thought about the images as stages or proscenia, but never the nativity scenes I saw every year as a kid, in which a baby, foreign men, and animals – a cross-section of the world – come together in a manger. That’s something for me to think about.
source: artlurker 2008
Michael Bilsborough (site in winter hibernation.)
michael bilsborough talks to ana finel honigman