“Wall Hole, All Whole” challenges the history of the photograph as a two-dimensional print on a gallery wall without texture, mass or volume.

 

In this case, the actual objects of framed photographs and the original nondescript wall become both subjects and the media itself used in the artistic process.

 

The use of ordinary everyday materials and the tension between sculptural elements and flatness of the picture plane recalls works by Robert Rauschenberg, while vandalism as an act of individual artistic practice references both the anti-art actions of Duchamp and interventions of John Divola.

 

Creation of the work involved simultaneous actions of construction, destruction and reconstruction; photographing, framing and hanging; rephotographing, rehanging and finally presenting a three-dimensional work of framed photographs suspended in space.

 

The work is also a documentation of its own time-consuming production spanning more than a year.