Day and Date Release #3: Field Notes   27.10.2019

Silver, laserprint, wood frame, 30 x 25 cm

 
Day and Date Release is a series of works that reflect on the speculativeness of historical events that have settled in collective memory. These works question how a fact can be transformed into a (fictive) story.
On October 27, 1873, American Joseph F. Glidden applied for a patent for his invention barbed wire. This meant a breakthrough to stop or isolate cattle and later also people. Previously, mainly thorny bushes or trees were used to hold the cattle together. Presented as a herbarium, Collier unites in Field Notes four designs for handmade barbed wire, which were called The Big Four, with plants from the area where these designs come from.
Pictures by Ligia Poplawska
 
Day and Date Release #2: illusions & delusions   16.05.2019

Embroidered napkin, 43 x 43 cm - Edition of 90

 
Day and Date Release is a series of works that reflect on the speculativeness of historical events that have settled in collective memory. These works question how a fact can be transformed into a (fictive) story.
illusions & delusions refers to the first Oscar ceremony that took place on the 16th of May 1929. According to the Hollywood legend, MGM art director Cedric Gibbons drew the design for the Oscar statue on a napkin that afterwards was given to sculptor George Stanley, who sculpted the trophy into clay. However, the original drawing has been lost and has never been documented. As an interpretation of this event, Collier recreates a fake copy of the iconic Oscar design. The embroidered drawing contrasts with the ephemeral memory of this event.
Picture by Ligia Poplawska
 
Day and Date Release #1: Method Acting  7.09.2017

Leather glove, electroplated tin - Edition of 3 + 1 AP

Day and Date Release is a series of works that reflect on the speculativeness of historical events that have settled in collective memory. These works question how a fact can be transformed into a (fictive) story.
With Method Acting Collier reflects upon the disjointed relationship between language and behavior as a means to question the nature of the real. The electroplated glove on the exhibition floor refers to a scene of Elia Kazans film On The Waterfront (1954). Here the object, by chance, challenges the actors to switch between his fictional and his own persona. The glove bears no resemblance at all to the one in the film; it simply represents an image of an image.