(Please note – This work must be shown on a 4:3 format monitor no larger than 25ins. If projected it must not exceed 25ins)

We have an abiding interest in the allegorical and critical potential of playing with habitual ideas central to the mythology of art. This includes notions such as authenticity, originality, political agency, the sketchbook as locus of creativity and the studio as site of alienated production. This was explored in earlier works such as ‘Dub’l introoder’ (Transmission, Glasgow 2001) where we presented an installation-fiction of our studio, and also in ‘Unrealised Dreams’ (Venice Biennale 2003) where ‘failed’ projects and satirical sketchbook ‘fantasies’ became the subject of the work. Such ideas were picked up in a different way in the video ‘Two Fine Examples of British Dentistry’ (2009) in which we once again assumed the identity of the rarefied dandy posing in the studio.

In ‘Spam Mush Dust’ (2012) we returned to a more explicit reengagement with such ideas and once again made work that centred upon a pair of doppelganger figures. In this case it is two 30cm tall stop motion animation figures seen in various states of cognitive constipation, negligible action and full blown inertia within a scale model studio, complete with tiny versions of our paintings and sculptures. There are paintings featuring a blase face logo, sculptures of teeth and a number of priapic robots. This stop motion animation work explored the porous relationship between a seemingly disengaged studio practice, focused upon the production of art objects through the repetitive use of a limited number of motifs, and broader forces at work in the world.