Another retrospective post, where I look back and pretend I’m writing from the point of view of past-Liam – a nice guy, filled with flu and absolute burning and relentless fucking hatred to the world of the healthy living, a place where he can’t be because he’s too busy crying himself to sleep through the sniffles and snotty sickly sadness… or I can be this week’s Liam (19/10/2015) whose just a little bit sleepy and a bit happy after drowning in highly-concentrated blackcurrant squash. Either way, they’re both trying their best to figure out where to start explaining this piece of work.
I tend to deal with these posts in a very detached way – I mean, I get absolutely fucking immersed in the writing to the point I stare at the keyboard and just let the creative sea of self-aware journalistic text flow – and it is really self-aware, or at least self-conscious about talking about flowing. I’m expected to be a pretentious, stuck-up piece of hipster-trash when I talk about how
deep and meaningful absolutely fucking badass my work is, but the honest truth is I hate that weird association with the artist’s head and it being so far up their asses they could use their tongue to paint their work brown… Okay, maybe that’s a bit too far but my point stands. At the very least I’ve managed to get rid of the “just’s” and “only’s” in my vocabulary when talking about my work, but I’m still working on not saying things like “I did it ’cause I felt like it” or “I reckon it looks bitchin’.” But that’s… most of the truth when it comes to the typographical aspect of anything I do – I don’t tend to plan that far ahead with all the little details when I start a new brief, I just sort’ve… play with it.
This brief is basically the same line of thought – I toyed with the idea of making a video for a while, before ditching that idea for a large-scale print. Five chapters of the book of Exodus – 14-19. BUT WAIT! THERE’S REASONING THIS TIME! The migration brief was born from the refugee crisis that’s absolutely pissing off politicians and border guards everywhere. I tried very hard to keep on topic with my idea of data migration but… it didn’t go straightforward. I got sucked back into the world of politics and sympathy, and went ahead to print off Exodus instead.
Exodus is one of those stories that people think about,
(but unlike Leviticus people don’t judgementally quote made-up shit from it to try to justify hatred against another person’s choices. If I remember correctly the ninth commandment is not to lie to people or spread false stories… and then we have the one about adultery. Oh and killing. I think there’s also the one about keeping the Sabbath holy so, God forbid, don’t do anal on Sundays. And remember not to say God’s name in vain.) when faced with certain hardships. The “certain hardships” being made to leave their home for some reason, be it the Egyptians or a political civil war. I spaced everything on the print to be symmetrical, each word being eight letters before continuing in the next. It was a ballache, but it’s visually interesting and it has viable context and meaning for it to… actually mean something.
The bad side is that it’s non-kosher. Sorry, gents. I kept the “bios [Torah]” installation in mind from the Jewish Museum visit last year.
-L.A. (Liam Morgan)