The very first World Orchestra piece is Conductor, dated c.2005. It is a contrarian piece, meant to conflict directly with the myth of the American West. Frederic Remington sculptures were prominent and ubiquitous in White House office photos, enhanced by Ronald Reagan, and again with George W. Bush. Conductor intended to reverse the period processes used by Remington while moving the image toward it’s basic beginning as an incomplete mass of clay or stone. “Enough already with the marketing myths” was the point. Conductor is a toy horse altered by various adhesive tapes, then professionally bronzed by a baby-shoe bronzer c.2005. It has become “The Conductor” as the lead work in the Tape pieces. It also refers to the shoe bronzing process. The Conductor remained a one-off put in storage for years. In 2014 Charles sought to examine appropriation again, but without the repulsive term “referencing”. He set about to seat an orchestra for The Conductor to conduct. A career long distrust of the interaction between artwork and title led to paralleling, but not illustrative titles. Titles which tell stories in words, while the artworks talk in images. Each title suggests a geography relevant to the instrument and/or the sculptre’s finish. We are asked in a sense to admire the transformation of a child’s toy by an adult. However, the transformation is one that would cause alarm were it done by a child. The life of an animal is survival, it has no illusions. We are asked- “is this a sculpture of a sculpture tied up?, or a sculpture of a tied up animal”? Is something wrong here? Is this about ecology, animal cruelty, the human desire for comfort in representations of happy animals? without fleas no wounds, parasites no mortality. Are we them? Why are these seductive instruments assembling?
The image grid below begins with “tape” pieces followed by “string” pieces.