Ellie Man is one part of a London based collaborative with Denzel Wauchope,
whom, since 2016, have collectively formed Dear-Daemon.
What follows is what happened.
I’m fascinated by people, communication, gossip, and how people interact (or not interact, quite a lot of the time). The creative outlet has manifested itself for a while through sound. And now through images as well. When it comes to making, we divide and conquer; normally Denzel does the sound and I build the imagery.
A lot of what Denzel and I do is digital, but which eventually takes on some tangible form which we feel is right for the work. If the piece is a finger painting and that’s what it’s supposed to be - we let it be.
You’ve got this weird cross-over between what is real and what is not, what people experience everyday but then also the sublime; what people expect to see and what they are anticipating and then trying to seek what they are not. It’s one big working contradiction; and you either love it or you really don’t like it.
If you look at how fear and doubt is spread and what kind of impact it can have on peoples’ lives, gossip is an undoubted power.
You either are or you’re either not. Putting people in categorical boxes. That isn’t sustainable.
We are inherently greedy; inherently wasteful. We have an opportunity to change the conversation. But it’s not going to happen over night. We’re very used to having access to physical stuff and being able to go out and buy, get or have whatever we want; and then throw it away. we’re very much a throwaway culture and just expect things. And when you don’t get those things it can be a bit of a shock to the system. We need to value less the materialistic things.
We were told “it’s very very dark”. We thought, have you seen how colourful it is?! But then again that’s a very valid point – when you take the time to scratch away at the surface value of the seemingly innocent, other elements start to come through that may not have been anticipated.
Oversaturation of popular culture condensed into a 4 metre-squared corner of a building in Chelsea School of Art.
People who watch it are like: you’ve seen it before, you’re kind of expecting what happens, but then at the same time you still watch it right to the end. It’s mocking you a little bit. It is an emotional investment.