http://www.aeroplastics.net/images/cooliris_logo.png http://mcgill.aeroplastics.net/ Dominic McGill @ aeroplastics 2008_the_revolution_will_1 http://mcgill.aeroplastics.net/index.php?title=2008_the_revolution_will 2008_the_revolution_will_2 http://mcgill.aeroplastics.net/index.php?title=2008_the_revolution_will 2008_the_revolution_will_3 http://mcgill.aeroplastics.net/index.php?title=2008_the_revolution_will Mixed Media toshatterthepretenseofobjectivity_1 http://mcgill.aeroplastics.net/index.php?title=toshatterthepretenseofobjectivity Mixed Media toshatterthepretenseofobjectivity_2 http://mcgill.aeroplastics.net/index.php?title=toshatterthepretenseofobjectivity Mixed Media toshatterthepretenseofobjectivity_3 http://mcgill.aeroplastics.net/index.php?title=toshatterthepretenseofobjectivity Mixed Media tobelikegod_1 http://mcgill.aeroplastics.net/index.php?title=tobelikegod Mixed Media tobelikegod_2 http://mcgill.aeroplastics.net/index.php?title=tobelikegod Mixed Media tobelikegod_3 http://mcgill.aeroplastics.net/index.php?title=tobelikegod powercomesthroughthebarrelofagun_1 http://mcgill.aeroplastics.net/index.php?title=powercomesthroughthebarrelofagun powercomesthroughthebarrelofagun_2 http://mcgill.aeroplastics.net/index.php?title=powercomesthroughthebarrelofagun powercomesthroughthebarrelofagun_3 http://mcgill.aeroplastics.net/index.php?title=powercomesthroughthebarrelofagun pickupthegun_1 http://mcgill.aeroplastics.net/index.php?title=pickupthegun pickupthegun_2 http://mcgill.aeroplastics.net/index.php?title=pickupthegun pickupthegun_3 http://mcgill.aeroplastics.net/index.php?title=pickupthegun WAR IS PEACE _ FREEDOM IS SLAVERY _ IGNORANCE IS STRENGTH. War is Language For the last six years I have made sculpture and drawing that attempts to visualise the propagandist manipulation of History and Fear to justify War and Political oppression. A rusted replica of the first atomic bomb in a darkened room emitting a sub bass hum with a model of Bikini Island at its center ."Model for a Death Wish Generation" A taxidermied Wolf and Poodle in a fight to the death "Dead End World in favor of the domesticated Poodle A replica of a Vampire Killing Kit in a museum case originally produced to promote the release of Bram Stokers Dracula in 1897 and implying historical precedence for Vampires several exist in Museums today and paralleling the methodology of the PR industry A model of an American church atop a section of dirt containing a Nuclear Bunker "Love is the Only Shelter" referencing the 1960's Gun thy Neighbour debate and Father McHugh's "Ethics at the shelter Door" a Christian justification for shooting your neighbour at the shelter door on the day of the Apocalypse "Project for a New American Century" a panoramic timeline drawing which overlays a history of the Cold War and the climate of Fear with a history of the American Counter Culture and attempts to visualize history as a moebius strip inevitably repeating itself. The build up to the iraq war morphs into the beginning of the cold war and the bombing of Hiroshima via Dante's dark wood where history is lost When I first came across "Wichita Vortex Sutra", by Allen Ginsberg by way of the quote "war is Language language abused for advertisement" it came close to explaining both the build up to the Vietnam and Iraq war. Whilst I have not replicated it word for word, but created a version of it, the aim is to illustrate the inevitable historical repetition in a parallel world. "Wichita Vortex Sutra "is an anti-war poem originally narrated into a tape recorder by Allen Ginsberg in January_Febuary of 1966 during a road trip from San Francisco to Wichita Kansas in a Volkswagen Bus with Peter and Julius Orlovsky driving Ginsberg was on a mission to the centre of the American Vortex; Kansas as Walt Whitman's mystic centre of America in Democratic Vistas_Leaves of Grass and Kansas as representative of middle class support for the war in Vietnam and the Military Industrial Complex in 1966 and again in 2000 as the election became increasingly centered on Midwestern values and echoing Whitman's vision of American power "Washington" relocating to the midwest . The poem reads like a road trip, random images from the car window assembled alongside radio soundbites, newspaper headlines and politicial buy lines, constantly moving into the vortex ,driving ,never looking back; history as amnesia, "The last weeks paper is amnesia". Although the Language of the poem is specific to the escalation of the Vietnam War it is also speaks to the build up to the war in Iraq, how manipulated language started the war but cannot end it. "The war is Language, language abused for advertisement" and yet by declaring the War is over by the powers of poetry Ginsberg attempts to reclaim Whitman's vision of "Democratic language" and ironically addresses any notion of Democracy in a society dominated by the Military Industrial Media Complex. From the ground up or the top down? "Almost all our language has been taxed by war" Terrorism like Communism ,another 9 letter word, becomes the magic spell that justifies war, torture and human rights abuse and vast profits for the MIMC wichitavortexsutra_1 http://mcgill.aeroplastics.net/index.php?title=wichitavortexsutra WAR IS PEACE _ FREEDOM IS SLAVERY _ IGNORANCE IS STRENGTH. War is Language For the last six years I have made sculpture and drawing that attempts to visualise the propagandist manipulation of History and Fear to justify War and Political oppression. A rusted replica of the first atomic bomb in a darkened room emitting a sub bass hum with a model of Bikini Island at its center ."Model for a Death Wish Generation" A taxidermied Wolf and Poodle in a fight to the death "Dead End World in favor of the domesticated Poodle A replica of a Vampire Killing Kit in a museum case originally produced to promote the release of Bram Stokers Dracula in 1897 and implying historical precedence for Vampires several exist in Museums today and paralleling the methodology of the PR industry A model of an American church atop a section of dirt containing a Nuclear Bunker "Love is the Only Shelter" referencing the 1960's Gun thy Neighbour debate and Father McHugh's "Ethics at the shelter Door" a Christian justification for shooting your neighbour at the shelter door on the day of the Apocalypse "Project for a New American Century" a panoramic timeline drawing which overlays a history of the Cold War and the climate of Fear with a history of the American Counter Culture and attempts to visualize history as a moebius strip inevitably repeating itself. The build up to the iraq war morphs into the beginning of the cold war and the bombing of Hiroshima via Dante's dark wood where history is lost When I first came across "Wichita Vortex Sutra", by Allen Ginsberg by way of the quote "war is Language language abused for advertisement" it came close to explaining both the build up to the Vietnam and Iraq war. Whilst I have not replicated it word for word, but created a version of it, the aim is to illustrate the inevitable historical repetition in a parallel world. "Wichita Vortex Sutra "is an anti-war poem originally narrated into a tape recorder by Allen Ginsberg in January_Febuary of 1966 during a road trip from San Francisco to Wichita Kansas in a Volkswagen Bus with Peter and Julius Orlovsky driving Ginsberg was on a mission to the centre of the American Vortex; Kansas as Walt Whitman's mystic centre of America in Democratic Vistas_Leaves of Grass and Kansas as representative of middle class support for the war in Vietnam and the Military Industrial Complex in 1966 and again in 2000 as the election became increasingly centered on Midwestern values and echoing Whitman's vision of American power "Washington" relocating to the midwest . The poem reads like a road trip, random images from the car window assembled alongside radio soundbites, newspaper headlines and politicial buy lines, constantly moving into the vortex ,driving ,never looking back; history as amnesia, "The last weeks paper is amnesia". Although the Language of the poem is specific to the escalation of the Vietnam War it is also speaks to the build up to the war in Iraq, how manipulated language started the war but cannot end it. "The war is Language, language abused for advertisement" and yet by declaring the War is over by the powers of poetry Ginsberg attempts to reclaim Whitman's vision of "Democratic language" and ironically addresses any notion of Democracy in a society dominated by the Military Industrial Media Complex. From the ground up or the top down? "Almost all our language has been taxed by war" Terrorism like Communism ,another 9 letter word, becomes the magic spell that justifies war, torture and human rights abuse and vast profits for the MIMC wichitavortexsutra_2 http://mcgill.aeroplastics.net/index.php?title=wichitavortexsutra WAR IS PEACE _ FREEDOM IS SLAVERY _ IGNORANCE IS STRENGTH. War is Language For the last six years I have made sculpture and drawing that attempts to visualise the propagandist manipulation of History and Fear to justify War and Political oppression. A rusted replica of the first atomic bomb in a darkened room emitting a sub bass hum with a model of Bikini Island at its center ."Model for a Death Wish Generation" A taxidermied Wolf and Poodle in a fight to the death "Dead End World in favor of the domesticated Poodle A replica of a Vampire Killing Kit in a museum case originally produced to promote the release of Bram Stokers Dracula in 1897 and implying historical precedence for Vampires several exist in Museums today and paralleling the methodology of the PR industry A model of an American church atop a section of dirt containing a Nuclear Bunker "Love is the Only Shelter" referencing the 1960's Gun thy Neighbour debate and Father McHugh's "Ethics at the shelter Door" a Christian justification for shooting your neighbour at the shelter door on the day of the Apocalypse "Project for a New American Century" a panoramic timeline drawing which overlays a history of the Cold War and the climate of Fear with a history of the American Counter Culture and attempts to visualize history as a moebius strip inevitably repeating itself. The build up to the iraq war morphs into the beginning of the cold war and the bombing of Hiroshima via Dante's dark wood where history is lost When I first came across "Wichita Vortex Sutra", by Allen Ginsberg by way of the quote "war is Language language abused for advertisement" it came close to explaining both the build up to the Vietnam and Iraq war. Whilst I have not replicated it word for word, but created a version of it, the aim is to illustrate the inevitable historical repetition in a parallel world. "Wichita Vortex Sutra "is an anti-war poem originally narrated into a tape recorder by Allen Ginsberg in January_Febuary of 1966 during a road trip from San Francisco to Wichita Kansas in a Volkswagen Bus with Peter and Julius Orlovsky driving Ginsberg was on a mission to the centre of the American Vortex; Kansas as Walt Whitman's mystic centre of America in Democratic Vistas_Leaves of Grass and Kansas as representative of middle class support for the war in Vietnam and the Military Industrial Complex in 1966 and again in 2000 as the election became increasingly centered on Midwestern values and echoing Whitman's vision of American power "Washington" relocating to the midwest . The poem reads like a road trip, random images from the car window assembled alongside radio soundbites, newspaper headlines and politicial buy lines, constantly moving into the vortex ,driving ,never looking back; history as amnesia, "The last weeks paper is amnesia". Although the Language of the poem is specific to the escalation of the Vietnam War it is also speaks to the build up to the war in Iraq, how manipulated language started the war but cannot end it. "The war is Language, language abused for advertisement" and yet by declaring the War is over by the powers of poetry Ginsberg attempts to reclaim Whitman's vision of "Democratic language" and ironically addresses any notion of Democracy in a society dominated by the Military Industrial Media Complex. From the ground up or the top down? "Almost all our language has been taxed by war" Terrorism like Communism ,another 9 letter word, becomes the magic spell that justifies war, torture and human rights abuse and vast profits for the MIMC wichitavortexsutra_3 http://mcgill.aeroplastics.net/index.php?title=wichitavortexsutra theendofhistory_1 http://mcgill.aeroplastics.net/index.php?title=theendofhistory theendofhistory_2 http://mcgill.aeroplastics.net/index.php?title=theendofhistory theendofhistory_3 http://mcgill.aeroplastics.net/index.php?title=theendofhistory graphite on paper 56 x 76 cm 22 x 30 inches theclashofcivilization_1 http://mcgill.aeroplastics.net/index.php?title=theclashofcivilization graphite on paper 56 x 76 cm 22 x 30 inches theclashofcivilization_2 http://mcgill.aeroplastics.net/index.php?title=theclashofcivilization graphite on paper 56 x 76 cm 22 x 30 inches theclashofcivilization_3 http://mcgill.aeroplastics.net/index.php?title=theclashofcivilization graphite on paper 132x 94 cm 52 x 37 inches intheshadowofthathideousstrength_1 http://mcgill.aeroplastics.net/index.php?title=intheshadowofthathideousstrength graphite on paper 132x 94 cm 52 x 37 inches intheshadowofthathideousstrength_2 http://mcgill.aeroplastics.net/index.php?title=intheshadowofthathideousstrength graphite on paper 132x 94 cm 52 x 37 inches intheshadowofthathideousstrength_3 http://mcgill.aeroplastics.net/index.php?title=intheshadowofthathideousstrength graphite on paper in two parts 56 x 76 cm 22 x 30 inches truth1_1 http://mcgill.aeroplastics.net/index.php?title=truth1 graphite on paper in two parts 56 x 76 cm 22 x 30 inches truth1_2 http://mcgill.aeroplastics.net/index.php?title=truth1 graphite on paper in two parts 56 x 76 cm 22 x 30 inches truth1_3 http://mcgill.aeroplastics.net/index.php?title=truth1 graphite on paper in two parts 56 x 76 cm 22 x 30 inches truth2_1 http://mcgill.aeroplastics.net/index.php?title=truth2 graphite on paper in two parts 56 x 76 cm 22 x 30 inches truth2_2 http://mcgill.aeroplastics.net/index.php?title=truth2 graphite on paper in two parts 56 x 76 cm 22 x 30 inches truth2_3 http://mcgill.aeroplastics.net/index.php?title=truth2 graphite on paper 132x 132 cm 52 x 52 inches The title quotes from a Weathermen Organization banner featured in a documentary after the Radical student group had gone underground. Formed in 1969 in "a period of repressive violence" with the goal of overthrowing the US Government and "Bringing the War Home",they felt that doing nothing was in itself a form of Violence. The Drawing examines the general de-politicization that has been predicted since Daniel Bell's End of Ideology in 1960 but really became apparent in the "Greed is Good"1980's as the sixties legacy subsided. It became almost total with the fall of the Soviet Union in 1991. Referred to as "The End Of History " and symptomatic of "The Absence of Ideology" it is out of this malaise that the Right Wing Backlash has come to what extent this Absence of Ideology is the product of , Corporate and State sponsored Public Relations, the rise of Consumerism , the Failure of Liberalism or wishful thinking is highly debatable. Despite or perhaps because of the Vietnam War The Military Industrial Complex is ever more dependent on the Media and the exploitation of Fear. The drawing references the PR Blitz that justified Reagans Massive Military Build up in the 80's , the justification for Covert military action in Nicaragua, Illegal arms sales to Iran and CIA sponsored Drug dealing on the streets of LA, the invasion of Iraq in 1990 and the massive Media Blitz that accompanied the most recent invasion of Iraq. thefuturewillbe_1 http://mcgill.aeroplastics.net/index.php?title=thefuturewillbe graphite on paper 132x 132 cm 52 x 52 inches The title quotes from a Weathermen Organization banner featured in a documentary after the Radical student group had gone underground. Formed in 1969 in "a period of repressive violence" with the goal of overthrowing the US Government and "Bringing the War Home",they felt that doing nothing was in itself a form of Violence. The Drawing examines the general de-politicization that has been predicted since Daniel Bell's End of Ideology in 1960 but really became apparent in the "Greed is Good"1980's as the sixties legacy subsided. It became almost total with the fall of the Soviet Union in 1991. Referred to as "The End Of History " and symptomatic of "The Absence of Ideology" it is out of this malaise that the Right Wing Backlash has come to what extent this Absence of Ideology is the product of , Corporate and State sponsored Public Relations, the rise of Consumerism , the Failure of Liberalism or wishful thinking is highly debatable. Despite or perhaps because of the Vietnam War The Military Industrial Complex is ever more dependent on the Media and the exploitation of Fear. The drawing references the PR Blitz that justified Reagans Massive Military Build up in the 80's , the justification for Covert military action in Nicaragua, Illegal arms sales to Iran and CIA sponsored Drug dealing on the streets of LA, the invasion of Iraq in 1990 and the massive Media Blitz that accompanied the most recent invasion of Iraq. thefuturewillbe_2 http://mcgill.aeroplastics.net/index.php?title=thefuturewillbe graphite on paper 132x 132 cm 52 x 52 inches The title quotes from a Weathermen Organization banner featured in a documentary after the Radical student group had gone underground. Formed in 1969 in "a period of repressive violence" with the goal of overthrowing the US Government and "Bringing the War Home",they felt that doing nothing was in itself a form of Violence. The Drawing examines the general de-politicization that has been predicted since Daniel Bell's End of Ideology in 1960 but really became apparent in the "Greed is Good"1980's as the sixties legacy subsided. It became almost total with the fall of the Soviet Union in 1991. Referred to as "The End Of History " and symptomatic of "The Absence of Ideology" it is out of this malaise that the Right Wing Backlash has come to what extent this Absence of Ideology is the product of , Corporate and State sponsored Public Relations, the rise of Consumerism , the Failure of Liberalism or wishful thinking is highly debatable. Despite or perhaps because of the Vietnam War The Military Industrial Complex is ever more dependent on the Media and the exploitation of Fear. The drawing references the PR Blitz that justified Reagans Massive Military Build up in the 80's , the justification for Covert military action in Nicaragua, Illegal arms sales to Iran and CIA sponsored Drug dealing on the streets of LA, the invasion of Iraq in 1990 and the massive Media Blitz that accompanied the most recent invasion of Iraq. thefuturewillbe_3 http://mcgill.aeroplastics.net/index.php?title=thefuturewillbe graphite on paper 130 x 162 cm 51.75 x 64 inches On November 22 1963, President John F. Kennedy was assassinated in Dallas. On the same day in Los Angeles, the author of brave New World, Aldous Huxley, on his death bed with cancer, slipped through the Doors of Perception with a large dose of LSD, back in Oxford, England, Clive Staples Lewis reknowned Christian Apologist and author of the Narnia Chronicles died from kidney failure. Taking November 22nd as a triangulation point Dominic McGill begins to chart American history and cultural change, through these 3 trajectories from the sixties, to the present in an attempt to answer "how did we get here?". And what happened to the big ideals of 60's radicals? What do the assassinations of Martin Luther King and Robert Kennedy, the Vietnam War, the Military Industrial Complex, the personal computer and the rise of the Technocratic society. New age religeon, the search for Utopia, Timothy Leary, and the world of Media Spin. Watergate, the Liberal Media Conspiracy and the rise of the Neo Cons and the Religious Right have in common? outbreakofmasssurrealism_1 http://mcgill.aeroplastics.net/index.php?title=outbreakofmasssurrealism graphite on paper 130 x 162 cm 51.75 x 64 inches On November 22 1963, President John F. Kennedy was assassinated in Dallas. On the same day in Los Angeles, the author of brave New World, Aldous Huxley, on his death bed with cancer, slipped through the Doors of Perception with a large dose of LSD, back in Oxford, England, Clive Staples Lewis reknowned Christian Apologist and author of the Narnia Chronicles died from kidney failure. Taking November 22nd as a triangulation point Dominic McGill begins to chart American history and cultural change, through these 3 trajectories from the sixties, to the present in an attempt to answer "how did we get here?". And what happened to the big ideals of 60's radicals? What do the assassinations of Martin Luther King and Robert Kennedy, the Vietnam War, the Military Industrial Complex, the personal computer and the rise of the Technocratic society. New age religeon, the search for Utopia, Timothy Leary, and the world of Media Spin. Watergate, the Liberal Media Conspiracy and the rise of the Neo Cons and the Religious Right have in common? outbreakofmasssurrealism_2 http://mcgill.aeroplastics.net/index.php?title=outbreakofmasssurrealism graphite on paper 130 x 162 cm 51.75 x 64 inches On November 22 1963, President John F. Kennedy was assassinated in Dallas. On the same day in Los Angeles, the author of brave New World, Aldous Huxley, on his death bed with cancer, slipped through the Doors of Perception with a large dose of LSD, back in Oxford, England, Clive Staples Lewis reknowned Christian Apologist and author of the Narnia Chronicles died from kidney failure. Taking November 22nd as a triangulation point Dominic McGill begins to chart American history and cultural change, through these 3 trajectories from the sixties, to the present in an attempt to answer "how did we get here?". And what happened to the big ideals of 60's radicals? What do the assassinations of Martin Luther King and Robert Kennedy, the Vietnam War, the Military Industrial Complex, the personal computer and the rise of the Technocratic society. New age religeon, the search for Utopia, Timothy Leary, and the world of Media Spin. Watergate, the Liberal Media Conspiracy and the rise of the Neo Cons and the Religious Right have in common? outbreakofmasssurrealism_3 http://mcgill.aeroplastics.net/index.php?title=outbreakofmasssurrealism graphite on paper 130 x 162 cm 51.75 x 64 inches masterofbadtrips_1 http://mcgill.aeroplastics.net/index.php?title=masterofbadtrips graphite on paper 130 x 162 cm 51.75 x 64 inches masterofbadtrips_2 http://mcgill.aeroplastics.net/index.php?title=masterofbadtrips graphite on paper 130 x 162 cm 51.75 x 64 inches masterofbadtrips_3 http://mcgill.aeroplastics.net/index.php?title=masterofbadtrips mixed media 52 x 47,5 x 52 cm 20 1_2 x 18 3_4 x 20 5_8 inches thatwhichisgood2_1 http://mcgill.aeroplastics.net/index.php?title=thatwhichisgood2 mixed media 52 x 47,5 x 52 cm 20 1_2 x 18 3_4 x 20 5_8 inches thatwhichisgood2_2 http://mcgill.aeroplastics.net/index.php?title=thatwhichisgood2 mixed media 52 x 47,5 x 52 cm 20 1_2 x 18 3_4 x 20 5_8 inches thatwhichisgood2_3 http://mcgill.aeroplastics.net/index.php?title=thatwhichisgood2 mixed media 74 x 61 x 62 cm 29 x 24 1_2 x 24 1_2 inches A ceremonial Hammer and Sickle in a display case , left in storage to rot in some damp basement, the piece is almost perfectly summed up by this quote from John Lanchester. "The collapse of Communism had overwhelmingly positive effects on its former subjects, but in the west we are missing the need to compare ourselves ethically against an ideological antagonist. The welfare state, free universal healthcare, paid holidays, workers' benefits of all kinds - how many of these would we have if it were not for the need to show that the west could not just outcompete communism, but was ethically superior to it? How much have our rights in these areas grown since communism collapsed? . . . Would Guantanamo have happened during the Cold War? Would any western government have permitted itself a crime of such flagrancy? We no longer have to compare ourselves with a global antagonist. The only thing we have to look at is the mirror. When we look there, part of what we see is Wal-Mart." 22 June 2006 John Lanchester. London Review of Books thatwhichisgoodhammerandsickel_1 http://mcgill.aeroplastics.net/index.php?title=thatwhichisgoodhammerandsickel graphite on paper 130 x 162 cm 51.5 x 64 inches fatherimgoingtokillyou_1 http://mcgill.aeroplastics.net/index.php?title=fatherimgoingtokillyou graphite on paper 130 x 162 cm 51.5 x 64 inches fatherimgoingtokillyou_2 http://mcgill.aeroplastics.net/index.php?title=fatherimgoingtokillyou graphite on paper 130 x 162 cm 51.5 x 64 inches fatherimgoingtokillyou_3 http://mcgill.aeroplastics.net/index.php?title=fatherimgoingtokillyou warislanguage_1 http://mcgill.aeroplastics.net/index.php?title=warislanguage warislanguage_2 http://mcgill.aeroplastics.net/index.php?title=warislanguage warislanguage_3 http://mcgill.aeroplastics.net/index.php?title=warislanguage graphite on paper 120 x 120 cm 47.5 x 47.5 inches zapruderwaltz_1 http://mcgill.aeroplastics.net/index.php?title=zapruderwaltz graphite on paper 120 x 120 cm 47.5 x 47.5 inches zapruderwaltz_2 http://mcgill.aeroplastics.net/index.php?title=zapruderwaltz graphite on paper 120 x 120 cm 47.5 x 47.5 inches zapruderwaltz_3 http://mcgill.aeroplastics.net/index.php?title=zapruderwaltz graphite on paper 107 x 152,5 cm 42 x 60 inches maniswolftoman_1 http://mcgill.aeroplastics.net/index.php?title=maniswolftoman graphite on paper 107 x 152,5 cm 42 x 60 inches maniswolftoman_2 http://mcgill.aeroplastics.net/index.php?title=maniswolftoman graphite on paper 107 x 152,5 cm 42 x 60 inches maniswolftoman_3 http://mcgill.aeroplastics.net/index.php?title=maniswolftoman graphite on paper 2m x 20m 80 inches x 65 feet pnac_1 http://mcgill.aeroplastics.net/index.php?title=pnac graphite on paper 2m x 20m 80 inches x 65 feet pnac_2 http://mcgill.aeroplastics.net/index.php?title=pnac graphite on paper 2m x 20m 80 inches x 65 feet pnac_3 http://mcgill.aeroplastics.net/index.php?title=pnac thereitis_1 http://mcgill.aeroplastics.net/index.php?title=thereitis thereitis_2 http://mcgill.aeroplastics.net/index.php?title=thereitis thereitis_3 http://mcgill.aeroplastics.net/index.php?title=thereitis graphite on paper 152,5 x 183 cm 60 x 72 inches selfstyledsanctuaryofthefree_1 http://mcgill.aeroplastics.net/index.php?title=selfstyledsanctuaryofthefree graphite on paper 152,5 x 183 cm 60 x 72 inches selfstyledsanctuaryofthefree_2 http://mcgill.aeroplastics.net/index.php?title=selfstyledsanctuaryofthefree graphite on paper 152,5 x 183 cm 60 x 72 inches selfstyledsanctuaryofthefree_3 http://mcgill.aeroplastics.net/index.php?title=selfstyledsanctuaryofthefree mixed media 244 x 122 x 76 cm 8 x 4 feet x 30 inches At the time, it prompted a bit of a political awakening for me. The ferocity of the landscaped pooch matching if not topping that of the "wild" wolf shook me out of my complacent pocket of ideas about civilization and violence here's another view of the same piece . Who is that creature... the pampered pet turned vicious? In all seriousness, this piece launched a whole new line of thinking for me about everything from who I am to what I'm capable of doing not that I see myself as a poodle, mind you, just that I always assumed I was a nonviolent person by nature, rather than choice... now I'm not so sure . Ed Winkelman deadendworld_1 http://mcgill.aeroplastics.net/index.php?title=deadendworld mixed media 244 x 122 x 76 cm 8 x 4 feet x 30 inches At the time, it prompted a bit of a political awakening for me. The ferocity of the landscaped pooch matching if not topping that of the "wild" wolf shook me out of my complacent pocket of ideas about civilization and violence here's another view of the same piece . Who is that creature... the pampered pet turned vicious? In all seriousness, this piece launched a whole new line of thinking for me about everything from who I am to what I'm capable of doing not that I see myself as a poodle, mind you, just that I always assumed I was a nonviolent person by nature, rather than choice... now I'm not so sure . Ed Winkelman deadendworld_2 http://mcgill.aeroplastics.net/index.php?title=deadendworld mixed media 244 x 122 x 76 cm 8 x 4 feet x 30 inches At the time, it prompted a bit of a political awakening for me. The ferocity of the landscaped pooch matching if not topping that of the "wild" wolf shook me out of my complacent pocket of ideas about civilization and violence here's another view of the same piece . Who is that creature... the pampered pet turned vicious? In all seriousness, this piece launched a whole new line of thinking for me about everything from who I am to what I'm capable of doing not that I see myself as a poodle, mind you, just that I always assumed I was a nonviolent person by nature, rather than choice... now I'm not so sure . Ed Winkelman deadendworld_3 http://mcgill.aeroplastics.net/index.php?title=deadendworld charcoal on paper fear_1 http://mcgill.aeroplastics.net/index.php?title=fear charcoal on paper fear_2 http://mcgill.aeroplastics.net/index.php?title=fear charcoal on paper fear_3 http://mcgill.aeroplastics.net/index.php?title=fear mixed media 104 x 71 x 66 cm 41 x 28 x 26 inches Love is the only shelter, a classicly American church, the front door sandbagged and defended with machine gun, stands high atop a dirt mound, cutaway in profile. Carved into the ground adjoining the church's cellar are a series of tunnels, stairs and secret rooms, leading to a bomb shelter deep beneath the earth. These guns and tunnels reference Father McHugh's "Ethics at the Shelter Doorway", an early nuclear moralist text that argues in defense of the Christian goodliness of shooting those who would force themselves into your family's bomb shelter, come the day of the Apocalypse. Otherwise known as the Gun thy Neighbour debate, this ethical quandary surfaces repeatedly in Christian Publications of the early 60's, Life magazine and even one episode of the Twilight Zone, "Love is the Only Shelter" references a 1960's Protest Slogan. loveistheonlyshelter_1 http://mcgill.aeroplastics.net/index.php?title=loveistheonlyshelter mixed media 104 x 71 x 66 cm 41 x 28 x 26 inches Love is the only shelter, a classicly American church, the front door sandbagged and defended with machine gun, stands high atop a dirt mound, cutaway in profile. Carved into the ground adjoining the church's cellar are a series of tunnels, stairs and secret rooms, leading to a bomb shelter deep beneath the earth. These guns and tunnels reference Father McHugh's "Ethics at the Shelter Doorway", an early nuclear moralist text that argues in defense of the Christian goodliness of shooting those who would force themselves into your family's bomb shelter, come the day of the Apocalypse. Otherwise known as the Gun thy Neighbour debate, this ethical quandary surfaces repeatedly in Christian Publications of the early 60's, Life magazine and even one episode of the Twilight Zone, "Love is the Only Shelter" references a 1960's Protest Slogan. loveistheonlyshelter_2 http://mcgill.aeroplastics.net/index.php?title=loveistheonlyshelter mixed media 104 x 71 x 66 cm 41 x 28 x 26 inches Love is the only shelter, a classicly American church, the front door sandbagged and defended with machine gun, stands high atop a dirt mound, cutaway in profile. Carved into the ground adjoining the church's cellar are a series of tunnels, stairs and secret rooms, leading to a bomb shelter deep beneath the earth. These guns and tunnels reference Father McHugh's "Ethics at the Shelter Doorway", an early nuclear moralist text that argues in defense of the Christian goodliness of shooting those who would force themselves into your family's bomb shelter, come the day of the Apocalypse. Otherwise known as the Gun thy Neighbour debate, this ethical quandary surfaces repeatedly in Christian Publications of the early 60's, Life magazine and even one episode of the Twilight Zone, "Love is the Only Shelter" references a 1960's Protest Slogan. loveistheonlyshelter_3 http://mcgill.aeroplastics.net/index.php?title=loveistheonlyshelter mixed media Adopting the tradition of narrative taxidermy, Ethics at the shelter doorway, again references the Gun thy Neighbor debate and Father McHugh's moralist text. A stuffed crow, its wings raised immediately before becoming airborne, Stands astride an antique Bible its pages cut away to enclose a Beretta pistol. ethicsattheshelter_1 http://mcgill.aeroplastics.net/index.php?title=ethicsattheshelter mixed media vampirekit_1 http://mcgill.aeroplastics.net/index.php?title=vampirekit cast epoxy resin thisistomorrow_1 http://mcgill.aeroplastics.net/index.php?title=thisistomorrow mixed media diameter: 215 cm 86 inches A full scale replica of the hydrogen bomb, its insides have been replaced with a seascape diorama. The painted concave upper section has a brilliant blue sky. The bottom section holds a minature replica of the Bikini Islands, which were vaporized by US testing of nuclear bombs. As Bob Hope once said of the operations there, "As soon as the war ended, we located the one spot on earth that hadn't been touched by the war and blew it to hell." A review in Art in America, described the piece this way: A translucent plastic surface covers the lower section and displays a mesmerizing three-dimensional panorama of Bikini Island. Flanked by painted coral reefs in a shallow aquamarine lagoon of real water, the idyllic sandy beaches are marred by charred tree trunks and a detonation crater alluding to the devastating nuclear tests from which this island has never recovered. The water is intermittently disturbed by sprays of steam and wavelike patterns caused by the vibrations of rhythmic humming sounds emanating from speakers hidden below the surface. Ed Winkelman modelforadeathwishgen_1 http://mcgill.aeroplastics.net/index.php?title=modelforadeathwishgen mixed media diameter: 215 cm 86 inches A full scale replica of the hydrogen bomb, its insides have been replaced with a seascape diorama. The painted concave upper section has a brilliant blue sky. The bottom section holds a minature replica of the Bikini Islands, which were vaporized by US testing of nuclear bombs. As Bob Hope once said of the operations there, "As soon as the war ended, we located the one spot on earth that hadn't been touched by the war and blew it to hell." A review in Art in America, described the piece this way: A translucent plastic surface covers the lower section and displays a mesmerizing three-dimensional panorama of Bikini Island. Flanked by painted coral reefs in a shallow aquamarine lagoon of real water, the idyllic sandy beaches are marred by charred tree trunks and a detonation crater alluding to the devastating nuclear tests from which this island has never recovered. The water is intermittently disturbed by sprays of steam and wavelike patterns caused by the vibrations of rhythmic humming sounds emanating from speakers hidden below the surface. Ed Winkelman modelforadeathwishgen_2 http://mcgill.aeroplastics.net/index.php?title=modelforadeathwishgen Martin Herbert questions to Dominic McGill July 2006 M.H.: What kind of artistic and extramural influences feed into your art? Who or what has most influenced your direction as an artist? D.MG: George Grosz was my first artistic influence at the age of 20 and he s still the best. Marc Dion I saw him talking at The Cooper Union about different Museums he liked and how it related to his practise. Iam obviously interested in Museum display and Taxidermy, especially the Natural History Museum Dioramas in New York and the science museum in London. It was the tradition of historical panoramas that inspired PNAC originally. Propaganda Posters, Political Posters and Corporate Logos, tattoos situationism and Guy debord, Late 50's 60's Theatre, the man on oxford st with "the End of the World is nigh" sign. endoftheworld_1 http://mcgill.aeroplastics.net/index.php?title=endoftheworld