Looking through some work from three years ago reawakened my
interest in the deliberate mistake. I’ve long thought that the deliberate
mistake is a way of approaching art that makes me think about how I think. Mr
& Mrs Walker have moved (Anne Eggebert
and myself, 1998), for example, where we moved into Kettles Yard, as it were
pretending that we didn’t know it was a museum, or laying aside the group
knowledge that this is what it is. Or feeling the surface of the painting in Touch
(2000), which broke through a barrier of
comfort, blurring the line between representation and real – in this case the
group portrait of the Lee family painted by Joseph Highmore in the eighteenth
century (the painting is in Wolverhampton City Art Gallery.
The obvious point about the deliberate mistake is that it is
instantly recognisable, and highlights the correctness of the correct. But I am
becoming more interested in the mistake, and the possibilities that it opens
up; the fact that it asks why, and that there may be no simple answer.
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