Occupying the same night-time space as the American drive in cinema of the 30s, the fairground shows of the 1900s, and the travelling theatres of the15th century, the work establishes itself in the areas between these complex and diverse histories, exploring public spaces as laboratories where people can experiment with different types of experience and perception.
Initially informed by drawing Alexander Storey Gordon’s work combines, scripted performance, film, painting, sculpture, and printmaking to form site-specific responses to individual social, and personal situations. His practice explores the idea that art is marked by its ability to disturb the historical and make it political. In particular, he is concerned with how we communicate the stories that we tell each other, ‘myths’, as a narrative construct that can at once both help us make sense of our own lives and at the same time lead us hopelessly astray.
In this vein A.S.G has often sought to play with old and redundant frameworks, ideologies, art movements and modes of display, briefly adopting and expanding there potential boundaries, languages and ways of presenting the world, in order to push them out with their original historical conclusions.