Paul Kindersley graduated from Chelsea College of Art in 2009, he is an artist, stalker, makeup enthusiast and youtuber based in London.
My work explores and blurs the boundaries
between fantasy and reality, the personal and the public, suggesting a fluid
involvement with mythologized filmic experiences and identity troubles of post
internet life. Playing with an individual, amateur and domestic interaction
with constructed glamour, celebrity, icon and stereotype and creating an uneasy
reversing of the fan/artist positions, so it is no longer clear or important
where lines are drawn. I play with a liminal place of borderline existence,
anchored in a shared pop culture reality. I utilise everyday cultural
encounters as a storehouse of props with which to populate a reality that is
striving to make sense of the everyday. Clues that are trying to decipher
themselves and emotions that are searching for a formula.
I create rooms, installations, sets, blogs,
performances, cultural interactions, drawings, internet personalities, films
and constellations of found objects and images, arranged and filtered through
convoluted and esoteric amalgams of histories and personal experiences. Places
that confuse the roles of voyeur, madman, co-conspirator and obsessive fan,
familiar yet uneasy backdrops into which the viewer is implicated. A moment,
removed from its narrative, carefully set up and captured, like a publicity
still, with the responsibility of encompassing an entire character and
storyline. I assimilate freely from TV, everyday imagery and encounters, and my
own past, destroying and meshing hierarchies and the personal.
Drawing on camp, nostalgia, gender roles and the extremities of exploitation movies of the 60’s and 70’s, my starting references explore the exaggerated filmic concepts and emotions of tragedy, eroticism, melodrama, violence and the tacky. A space constantly encountered but impossible to occupy. Through obsessive re-making, re-creating and immediate environments of available objects I aim to present clues, props, videos, drawings, performances and objects with which to interact. Enabling a slowing and breaking down of screen time and an ownership of a romanticised glamour that is all pervasive in 21st century life. With confused narratives and façades, I play with cultural fictions and present a melancholic hankering for the never real.