Growing a Golden Slug in a Bath of Acid' is a continuation of an ongoing series artist Ross Vaughan has been working on for approximately 3 years.
Vaughan collects found images from varied places including vintage movie stills, salvaged photographs, op shops and womens magazines.
Vaughan uses digital and non digital collage and surrealist chance games to assemble images; which he then alters further and then paints. Lovingly.
I’m pretty confident that most artists’ aesthetic decisions are just that. They make
things that look good. Maybe try to create a mood or something. And all of the lofty
conceptual frameworks get erected around them posthumously, by the artists
themselves, whilst they nervously hover over a keyboard, drinking a bottle of Jacob’s
Creek, eyeing off their stupid-ass site-specific balloon-installation or whatever, as it
hovers contemptuously in the corner of their studio, silently judging them for their
myriad intellectual failings and threatening to make them look ridiculous for
spending 4 years at art school without learning any objectively measurable skills,
when they could have got a trade in cabinet making like Gary, all the while gingerly
fapping out some randomly-assembled amalgam of every other artist statement
ever, and trying to remember not to use the word ‘liminal’ too many times in one
paragraph and actually, under these unflattering lighting conditions the whole thing
literally just looks like a pile of balloons for fuck’s sake, like, is that something people
are going to be interested in? What if they pop on the way to the gallery? Should I
add something about ‘impermanence’ to my exhibition proposal? And more
pressingly, how am I going to explain to my Mum what I’ve done with my life?
It’s for this reason I would never insult an audience by writing a meaningless artist
statement that failed to convey any useful information about my artwork.
Ross Vaughan, 2018