Golden Boy

This was one of the more challenging collaborations, as Murray and I were close friends at the time, we began in a very playful way, as is evident in our Manifesto. I felt that this was a very strong point of departure but I was worried by the fact that we had collaborated many times before, and that this may inhibit our freedom. 

Murray's commitments socially (and otherwise) made it difficult to pin him down, and I often found myself doing most of the physical work.  In fact, as I look at the finished light box installation I now realize that Murray' involvement was purely verbal.  When there was a pivotal decision to be made as to the direction of the piece, I would consult him and a consensus was easily reached most of the time.  The rest was up to me, thus it feels like a solo effort in many ways.  This however, gave rise to an interesting internal dialogue regarding collaborative practice, and proved to be a great resource for the theoretical component of my masters thesis.  There are certainly very pertinent examples of such collaborations in our own city, where busy artists will rely very heavily on their co-collaborators to complete works on their behalf. However, this practice is usually reserved for artists operating at a different level to those of our economic standing.