Chrématistique

Chrématistique is a set of three works - a painting, a video and a sculpture - that reflect on the shift towards neoliberalism occurring over the past decade or more. Following the research of French philosopher Fabien Vallos on the Aristotelian notion of chrématistique, A Constructed World consider the process of accumulating wealth through money and goods regardless of their use value. The video work, The Parable of the Talents, a re-make of Matthew 25:14–30, explores the embarrassment and conscious duplicity of this story and its implications. Amphorae, a pair of faux Grecian vases, depict erotic (or pornographic) images lifted from the internet, freely available due to the proliferation of material and users. And the over-sized painting Nature Dance, a picture of the fragility and trust of the individual in the group in the world.


“We do have a future and a past, but the future takes the form of a circle expanding in all directions, the past is not surpassed but revisited,repeated, surrounded, protected, recombined,reinterpreted and reshuffled. Elements that appear remote if we follow the spiral, may turn out to be quite nearby if we compare loops.”- ACW
“Even as he (Freud) strived for psychoanalysis to attain a certain level of respectability, Sigmund Freud was struggling against his attraction to telepathy. Ernest Jones, his collaborator in London, warned him against this occult practice, as it could bring harm to psychoanalysis. To this Freud replied that his belief in telepathy, just as his taste for tobacco and his Jewishness, remained strictly personal business. As if the personal affairs of Freud had no relationship to psychoanalysis. Telepathy would help make immediate contact with the other without passing through language. Language being nevertheless the condition of analytic treatment and the guarantee of an intersubjective relationship, Freud took the risk of both contradicting himself and imagining a state of telepathic fusion between the subjects. It’s a situation where the Other (including the Other in its absolute difference: the animal), could stop being an other and become a self. Both paradoxes have in common that they reveal conflicting relationships between theoretical constructs and the repressed desires that are impeding them. They also highlight the constraints that oppose the need to recognise difference.”- Sébastien Pluot