Tam Hare’s Exhibition Text
for Kulturgård Exhibition, Sigtuna, May 2021
Nothing’s Really Matter (2021)
Mixed media* ‘non-painting’ relief on 475 g black building paper
[*includes typical art and ‘non-art’ materials]
55 x 80 cm
Nothing’s Really Matter is Tam Hare’s current work in a recent experimental disciplinary approach to his research into, speculations on materiality and matter. This evolving project explores various self- determined, rule-governed practices, which have been designed alongside ever-changing occurrences that the work’s processes generate.
Tam terms these pieces in this series and the verb of its creation, a ‘non-painting’ object. By using a carefully devised, rule-defined system of material applications, his intentions for the work produce aesthetic and material discoveries. The materials used are crucial to this exploration, as he has intentionally utilised a range of associated art and non-art products. Some are domestic materials and food products, which are prepared and then applied to the picture in layers.
A structure of layering has been utilised, in this instance, as a compulsive vertical application process. The up-and-down action is identical each time, for all layers; carefully and repetitively applying the materials numerous times. The many applications ultimately create the picture and reveal the results of these experimental actions.
Finally, this work merges with Tam’s longstanding research into the adoption of constructed, self- imposed systems and their ‘constraints’ as an element of his speculative creative practice. “there is no mysticism or supernatural component in this enablement by self-imposed constraints”2. Therefore, for him, a necessary task now remains: to do and reveal ‘something’ within such ‘constraints’, not despite them.
A footnote reference to the quote used on this work 3
.....Tam terms these pieces in this series and the verb of its creation, a ‘non-painting’ object. By using a carefully devised, rule-defined system of material applications, his intentions for the work produce aesthetic and material discoveries. The materials used are crucial to this exploration, as he has intentionally utilised a range of associated art and non-art products. Some are domestic materials and food products, which are prepared and then applied to the picture in layers.
A structure of layering has been utilised, in this instance, as a compulsive vertical application process. The up-and-down action is identical each time, for all layers; carefully and repetitively applying the materials numerous times. The many applications ultimately create the picture and reveal the results of these experimental actions.
Finally, this work merges with Tam’s longstanding research into the adoption of constructed, self- imposed systems and their ‘constraints’ as an element of his speculative creative practice. “there is no mysticism or supernatural component in this enablement by self-imposed constraints”2. Therefore, for him, a necessary task now remains: to do and reveal ‘something’ within such ‘constraints’, not despite them.
A footnote reference to the quote used on this work 3
Tam Hare (b. 1983 in Edinburgh, Scotland) is an artist, writer-researcher and PhD candidate based in Uppsala. The foundations of his research are primarily text-based, however, performance, sound, design, photography and film, typically merge as key elements in his practice. In addition, he works collaboratively, curatorially and in arts production.
Mail: tam_hare@hotmail.com
Web: www.tamhare.com
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1. Negarestani, R. ‘The Inhuman (a quick read)’, TOY PHILOSOPHY [web blog], Critical Philosophy Program, The New Centre, 2019, 8 April 2018, part 4., https://toyphilosophy.com/2018/04/08/the- inhuman-a-quick-read/, (accessed 27 July 2020).
2. Ibid, part 5-1.
3. Deleuze, G., Guattari, F. (2005). A Thousand Plateaus, Translated by B. Massumi. (Minneapolis: University of Minnesota Press, USA, 1987), p. 3.