Archive | August 2019

When you lie you lose a bit of yourself and replace it with a bit of everyone else AUSTRALIAN GALLERIES SYDNEY SEPT. 3 – 22

WHEN WE LIE WE LOOSE A BIT OF OURSELVES AND REPLACE IT WITH EVERYONE ELSE
At a funeral it is the custom to lie about the dead person and his/her life to the extent it’s no longer possible to identify the body. Even after death we live a lie.

Cameron Hayes
When You Lie You Loose a Bit of Yourself and Replace it with a Bit of Everyone Else, 2016
oil on linen
60 x 72 inches
photo: Vince Ruvolo
courtesy the artist and Ronald Felmdan Gallery, New York

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A woman reads from a prepared eulogy- nothing lies like a eulogy – the mourners listening to it are trying to make sense of its parts and are trying to re-assemble the dead body is like trying to put together an IKEA table but they are confused by the contradictions and implausibility of the life they were hearing about and the life they thought they knew  . Above them a couple sit exasperated holding an allen key and IKEA directions to a table with pieces that don’t look like they belong to a table.

In the centre of the picture there is a marriage cake, both bride and groom have already taken pieces out of the wedding cake and replaced the pieces with other bits of cheaper cake to hide their theft. For the sake of the wedding the couple walk down the isle already missing pieces of themselves in an attempt to accommodate their partner. The bride’s leg is replaced by a bike wheel her arm is a crutch, the grooms head a rubbish bag. The bridal gown’s train catches bits of the couple as they walk and two groomsmen trail behind with wheelbarrows to collect and reattach the couples missing bits

marriage cake

Some people lie so much that they become empty sacks    – scarecrows.  Their loved ones hunt around with lie detectors trying to find the lost bits of them in an attempt to refill real parts of them back into life. A giant public lie detector is used by many desperate people who dance around the lie detector in adoration with personal objects wired to it that they know wont lie to them ; pet rabbit, pot plant, golf club…ect..

 

A man with his pants down is thrown out of what looks like a public toilet, only to realize the cubicals are selling computers and the toilets are computers. Dogs are also fooled into thinking what looks like a park is a park-  it is really a plant shop. A pet shop is made to look like a police station, market research is made to look like a school and a bed and furniture shop is made to look like a hospital. The beauty shop looks like a church with statues of Mary and Jesus replaced with six packed models .Art museums are fronts for gift shops. Even buildings are actively lying.

Loose bits of people are clogging up the streets and garbage men use people’s empty outsides as bin bags to clean up the mess, they throw the body bags into the dump truck and take the bits of people to the bucket factory. At the bucket factory bits of people are melted into plastic and moulded into empty plastic buckets so they can re-roam the streets waiting to be filled with lies and deceit. People are born as originals and die as copies

 

“By a lie a man annihilates his dignity as a man” – Kant. At the job interview applicants are seated in front of giant posters of shapes they are expected to fit into ,they are given the waiting time to self-mutilate so as to fit the required shapes they loose and gain body parts while trying not to drop the CV’s they brought from the lobby vending machines. Those long term unemployed have no uninjured parts of their body left and only their heads emerge from their bandaged bodies rolled around on wheelchairs

“There is in the world only the choice between loneliness and vulgarity” –  Schopenhauer .In the background cars are dressed up as aeroplanes – the lies we tell ourselves about the things we are going to do. The cars drive to the ethnic restaurants to who’s countries we will lie about going to and then to films who’s books we will lie about reading. Also in the background are cardboard skyscrapers populated by a single angry man with a computer who tells himself 1. That he has something important to say and 2. That everyone will agree with him if only they understood him. These skyscrapers have names like ; The Institute of… and The Coalition for …. and The Committee for…. and The People Against…..

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The race to be the first celebrity: Jack The Ripper versus The Elephant Man – Australian Galleries, Sydney 3-22 Sept.

Cameron Hayes
The Race to Be the First Celebrity: Jack the Ripper versus the Elephant Man, 2011
Oil on linen
78 x 100 inches
Photo: Bill Orcutt
Courtesy Ronald Feldman Fine Arts, New York

The race to be the first celebrity: Jack The Ripper versus The Elephant Man

The 1880s: Darwin had convinced most people in England that the process of
evolution meant the next generation would make their generation look like monkeys
in comparison. To prove their status and relevance, people in the 1880s were
determined to celebrate regressive rather than progressive character traits. They
wanted to celebrate the aspects of people that they considered backward and
regressive. People wanted to promote qualities in their fellow man that were
humiliating and anti-evolutionary, to inhibit the feeling of being surpassed

 

 

 

The local government replaced all the statues of heroes with statues of toilets, irons,
and vacuum cleaners. Everything inspirational was being replaced with the
acceptance of the debilitating filth of human mediocrity. In the afternoon, people lined
up along the driveway of the mental home to applaud the new patients forcibly being
dragged in, as well as outside the jails to view the violent criminals. They also line up
along the hospital driveway to watch those maimed in factory accidents crawl to the
hospital door. The trail of blood they left behind started the tradition of the red carpet
for celebrity arrivals
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Many formerly famous people have to make their achievements even more
spectacular to keep up with the new fashion of celebrities. Dr. Livingstone tried to
convince his audience that everybody and every animal he met on his adventures
were cannibals. He did this by starving baby animals and then stuffing the mother’s
skins with fresh meat. Soon lying and pantomime replaced discussion and history.

But the more emotionally and physically disabled they were, the more their celebrity status became
invincible. As more and more machines of the industrial age threateningly came torepresent to people that they were becoming evolutionarily obsolete, people became more attracted to those who were previously outcast: prostitutes, the exotic other, mental patients, criminals, and the physically impaired. The greatest celebrities of the age had to involve a combination of crime, mental illness, sin and prostitution: like the crime and mental illness of Jack the Ripper and the physical deformity and “nativeness” (mother squashed by an elephant) of The Elephant Man.

As a child the Elephant man was thought so shockingly grotesque that the only job
he was suited for was selling women’s stockings door to door.

A theme park called “The Elephant Man’s Mother” celebrated how Joseph Merrick
suffered without his mother’s milk (nature): children could buy elephant man masks,
head sacks and trinkets at the gift shop.

Great thinkers and achievers made people feel inadequate like old school friends
who have made it big. People blocked them out by filling their minds with the lives of
the needy and emotionally retarded: Karl Stefanovic, Alan Jones, Kardashians.
Images of great art were replaced by Instagram pics of restaurant meals.
Philosophical proverbs and heroic mottos were replaced by tweets about – well –
other tweets. Prostitutes (then) and skinny models (now) along with sexually ambigous radio hosts are symbols of nonreproduction, and, along with criminals, are celebrated as an affront to the next
generation to the certainty of evolution.

 

Ugliness becomes the new trend with dog baiting and talkback radio, adults toileting
and fighting in the streets to affirm their human / non-robot status. The ultimate
machine of the age – the clock – torments people by reminding them of an evolved
future of which they will not be part of and obliterating the past which they felt
superior to.

Darwin’s theory of evolution means babies are the masters of the next generation,
exploiting the adults’ fear that they would have to mutate to survive. Babies are
destroying the old London by driving steam train tracks through old buildings and
replacing trees in the parks with wooden chairs stacked in the shape of trees.
Mothers used long handled prams because they feared the violence of their pumpedup babies. Babies in top hats roam the streets looking to kill regressive human forms
and at the races shooting any non-winning horse.
The London zoo is the only sanctuary for the adults from the oppression of evolution.
The zoo animals in cages were confirmation that the adults weren’t the bottom of the
evolutionary ladder, the skin tight cages they put the animals in demonstrated the
adults’ superior freedom and intelligence, the wheels they put the cages on made it
possible and convenient for the adults to express their anger at the animals rather
than the system. Like Lord Curzon, Captain Cook and Gordon of Khatoum adults felt
it safer to concentrate on the individual not the system.

THE FIGHT BETWEEN MOOMBA AND LENT – Australian Galleries, Sydney 3-22 Sept.

THE FIGHT BETWEEN MOOMBA AND LENT 2019 by Cameron Hayes – Australian Galleries, Sydney 3-22 Sept.
In Bruegel’s 1559 painting THE FIGHT BETWEEN CARNIVAL AND LENT the public performance of piety (LENT) is shown to be undermined by suspicions fakery and signs of evil and therefore as bad as the public performance of sin in the Carnival. The two behaviours portrayed in Carnival then Lent lead to the question- can you pay for bad behaviour with good? Can you buy permission for bad behaviour with public performances of good behaviour?
picture of bruegel’s
In THE FIGHT BETWEEN MOOBA AND LENT the government – via the Moomba parade – gifts the people the opportunity for a public performance of their acceptance of cultural diversity and their tolerance of racial and religious difference.

Australians are accepting of the idea of consistent appalling behaviour being insured against with very public displays of much less expensive good behaviour: Richard Pratt’s PRATT FOUNDATION , Shane Warne’s THE SHANE WARNE FOUNDATION, the major banks with their charitable partnerships and sponsorship programs

Melbourne city is the backdrop for the Moomba parade but the city buildings are barely visible now amongst the growing stacks of shipping containers. Everything Australian’s want comes from overseas shipping containers : fashion, music, cars, tv, acclaim….. and everything Australians fear comes from overseas ; wars, poverty, queues, sharks, refugees……


Australians are constantly told they are the “ lucky country”. When everything you have is because of luck then nothing you have is earned and therefore nothing you have is owned and everything can be taken by unlucky people from unlucky countries. At the back of the Moomba parade representatives of different ethnic communities are stealing our natural resources they have hooked up their toasters to our power lines and dragging the power poles along the parade route.

The Tampa float shows the stranded asylum seekers still living in their Tampa container building more and more empty letterboxes and feeding on a single pig and cow.

The children overboard float has two women “dressed as Muslims “ turning small paddle steamer wheels with babies tied to them through the water below.



Lindy Chamberlian’s Seventh Day Aventism was enough to forfeit her burden of guilt re; baby killing. The Lindy Chamberlian float has two bikini models wearing dingo costumes fighting over Azaria’s jumpsuit underneath a clothesline heavy with dingo bitten infant jumpsuits.


The 2007 fake flyer from the fake Islamic Federation of Australia created and distributed by members of the liberal party to create new fear of Islam and inflame existing hatred of muslims is celebrated in the next float. The man in the float wearing a fake beard and wig continues to hand out the flyers, the float is decorated with suitcases ,planes and bombs.



The parade has been held up because a boy riding the Australian Mining float has become trapped under the wheels of that float. While his father leans onto the float to get a closer look the mother meets the boys outstretched hand with a lit cigarette.


The African gang fear is sponsored by channel seven and represented by giant giraffes around whose necks hang the front doors they have broken into and in their mouths they are devouring fluffy white sheep.


To continue the fear dolphins are dressed up as sharks and white men in life saver costumes are everywhere to sedate, lead and justify our need for protection. The Aboriginal Wheelchair ballet school celebrates our ability to decorate a few aboriginals for achievments in sports and the arts in order for us to be able to ignore the major problems of the many. The parade seperates immigrant Australians on one side and older 2nd., 3rd and 4th. Australians on the other.These older whiter Australians wear head bands and wrist bands and tennis outfits. For white Australians , Australia is something they remember not something they experience.