‘Riots improved a bit since the assassination of Julius Caesar. As you probably know that day of 44 BC in Rome an incensed mob took firebrands from the pyre and attacked the houses of Brutus and Cassius, as well as killing Helvius Cinna … Riots and Non-Violence Resistance Protests (NVR) only share few behavior patterns; they are in fact quite different. Eventually any NVR could become a riot but never the other way around. A riot is by nature unpredictable and by definition, a disturbance of the ‘peace’.
‘Today protesting and getting the results you were seeking for, is quite a challenge. Contemporary anti-riot troops can dissolve strikingly fast any kind of public disturbances. Therefore in order to effectively protest we need to be creative, we need to awake the curiosity and sensitivity of people, we need to make them laugh and most difficult of all tasks, we need to inspire them. That’s exactly what Pussy Riot has done to us, THANK YOU!’
‘Humor is like a whip with jingle bells attached to its popper’ —José Martí
‘L’altra figura’ (the other figure) is a deceptively simple play on the classical theme. The two heads raised on plinths to the height of a modestly sized viewer are identical plaster casts of a Roman copy of an earlier Hellenistic bust. The busts show the heads slightly at an angle to the body, their faces turned to reflect each other precisely. This slightly sideways glance lends a degree of animation to what would otherwise be a static mirroring. It is as if they have both just turned to catch the other’s gaze; perhaps it is the dramatic incident that has just occurred between them. On the floor surrounding the two plinths is the manifest evidence of a minor disaster. Another bust that seems to have crashed to the floor, shattering into multiple pieces of plaster, is just barely recognisable as the third of a kind. The twins may be thought of as a related pair or a mirroring of one but three is the beginning of an indefinite number, suggesting infinite reproducibility or endless cloning.
The nature and trees around him have always been an creational source for him, not only are they beautiful from the outside at but also when you try to investigate a look inside. Gill found that things were more beautiful and complex inside than what was visible from the outside. Pattern, texture, color. ‘You’ll never know what you’re missing if you don’t find some way to get inside and look’ and that brought him closer to the gentle giants we live among. Gill used recycled lumber, covered it with ink and paper and pressed and scratched the wood pattern on the paper with his fingers. When Gill is working with wood, he is not fighting it but he is going with it. He is printing over a period of time and you can see and feel the slight changes in the texture or mushrooms growing on it. For him, his process is very organic and it just comes to him while working. Its engagement is to understand his place in this world in this time, which he has to participate as a record of his connection to it. In his prints you can see the natural beauty of the earth and its plants and creatures and the natural unique fingerprints and stories they tell in their texture, if you just listen carefully.