I was asked at ACCA’s front desk if I wanted earplugs, and a jar with pairs of yellow foam was proffered. I declined; I’m all for ear protection, but I couldn’t hear anything like a band at the Tote. It hardly seemed necessary. The person then warned me about the content of the exhibition. “Yes, I’ve seen his work before.”
Textile and assemblage artist Paul Yore’s mid-career retrospective, Word Made Flesh at ACCA, has much to look at and examine. The sheer amount of work, labour, of stitches in time is eye-popping and impressive. And being familiar with Yore’s work, I was amazed that there was so much new work.
What is also impressive is Yore doesn’t give a fuck. He has thrown everything at it. Too often, contemporary art is an empty gallery space with a video projection of a vacuum cleaner or something. Yore fills even the five vast spaces of the ACCA to excess. There is even a room that is double-hung because there is so much.
Even a decorated car, a typical gallery space filler, is a hearse worked to excess, covered in tiles. Two electric organs on either side of it with keys jammed down emit a grinding discord. There is a media overload with images and sound in the final room. Random water-powered beaters hit bells and xylophones.
Language and wordplay are everywhere. Cut up and rearranged, like the found images that he makes collages and assemblages from. The words themselves become found materials. Language is used not as a representation of the world but as a media that has made the world. His studies in archaeology and anthropology at Monash University have been put to good use. Culture jamming, using icons, symbols and logos for his own purposes.
And it is not just the quantity of material. There are also many ideas: religion, philosophy, capitalism…
However, picking one subject and trying to summarise the exhibition is probably a mistake. There is so much to consider; it bedazzles the eyes and boggles the mind to sum it up. And excess, too, is one of those great subjects for art, for art is a way to use part of the excess in society.
Finally, Yore is doing great Australian art, not the old Australian subjects and macho bullshit but a new perspective. It has been a long-standing theme in Yore’s work. It is important because Australia is seldom a theme of contemporary Australian art, and we need an intelligent view of this subject not only the moronic patriotism of the majority.