Artist: Douglas Watt
Exhibition title: Deep End Epiphany
Venue: Tara Downs, New York, US
Date: June 24 – July 31, 2021
Photography: all images copyright and courtesy of the artist and Tara Downs, New York
Yes, there are men in the showers drinking each other in; there are also seniors doing aqua fit, teen-agers learning CPR, newborns bobbing in the kiddie pool, divers throwing themselves from unseen platforms, and sauna-going swingers staying open-minded. Like the body itself, the aquatic centre is a multicellular organism, a dripping, near-nude microcosm of the social sphere.
One Saturday morning, at the Vancouver Aquatic Centre on Beach Avenue, Douglas Watt spot-ted something unfamiliar through his goggles. There, on the floor of the deep end, were two long white boxes connected by a black tube all pinned by cinder blocks. Recognizable perhaps only to divers and pool personnel, the device—a sparger—creates a profusion of bubbles, breaking surface tension. It falsifies a softness, blurs the natural violence between water and falling body. Without the effervescence, the surface is also invisible; no matter how many times the divers looked down and plunged it, the unmodified entry remains imperceptible. This obscure machine, a lodestone for Watt, might be thought of as a guidebook or prism or blackbox for all the works in Deep End Epiphany, his first solo show in the US.
Switching from front crawl to back, Watt casts his eyes toward the sky, the sun, the rain, through the aquatic centre’s concrete skylight. Skylight Banner (2021) is an accessorized fabric facsimile of the imposing brutalist ceiling affixed dramatically to the wall with four 8” iron nails. In a libidinal flush, one might say it has the energy of a switch—on one hand, sparkly and pert, and on the other, heavy, unwavering. “Here, the sky is so strange. It’s almost solid… as if it were protecting us from what’s behind,” utters John Malkovich’s character Port, in The Sheltering Sky (1990) while fucking his wife on the precipice of a cliff in the Maghreb—an expanse the pair can’t resist tunnelling further and further into, relinquishing all safeguards. Is the sky benevolent or merciless? Protective or op-pressive?
The artist has been crafting these excessively detailed works—or “handmade readymades,” as he sometimes calls them—for a few years now. Opting for proximal materials, most are culled from the recycling bin at his workplace, from the dollar store or hardware store on Davie Street in the gay village, or from the ground. While a number of imperatives could feasibly be tacked onto this im-pulse, it’s truer to say that Watt (who studied art history, not studio art) has always been doing this, led by insatiable curiosity, attention to detail, and maybe even a 6th sense. To spend any amount of time with him is to know his ability to unearth strange things in plain sight; his eyes are somehow always fresh. In thinking of Robert Gober’s doll houses, Hilton Als draws on an idea from Barthes: toys are designed in such a way that “the child can only identify himself as owner, as user, never as a creator; he does not invent the world, he uses it; there are, prepared for him, actions without adventure, without wonder, without joy.” Watt’s work, which collects many such “mainsprings of adult causality,” re-engineers our relationship to what’s given—not only destabilizing our position as “users” but also drenching the complex processes of identity formation in jouissance.
Calling such work “surrealist” is a lazy cop-out, remarks Als in the same essay, an overly general place to park practices that seem to draw their ideas “from thin air.” This observation underscores a generalized belief that outlandish concepts and configurations are not available to properly accul-turated adults, or could only come when they’re sleeping, unaware. It’s consistent with the domes-tication of art into academia, wherein creative output is chiefly intellectual, and where form follows from dialectics, resulting in so much work that is conceptually neurotypical, politically conclusive, and experientially threadbare. By contrast, Watt’s oeuvre to date is like a cold plunge; “[d]esire is depsychologized” (Leo Bersani writes in the chapter “Is There a Gay Art?” from Is the Rectum a Grave and Other Essays), stripped down to something sensuous, hemic—although not primordial in the way that surrealism is either. In other words: a welcome reminder that modes of comprehension can be started from scratch.
As Bersani writes, visual art “can manifest what Greil Marcus calls ‘the mystery of spectral con-nections between phenomena separated by a conventional and restrictive perceptual syntax.” The queer mind might, on Thursday, exploit what’s conjured by markers of DIY theatre, kids’ crafts, and campy gay club décor; and, on Sunday, channel the spirit of elusive, minimalist women artists, squinting out at the desert. As Watt tells me: “When faced with aesthetic choices, I choose not to choose.” While the results may appear to some as an unflinching cognitive dissonance, getting inside this practice might be simple as slightly shifting one’s mind frame from either/or to both/ and. As Watt puts it, the vision is singular, “but expressed tangentially through variation, mutation, chance, experimentation.”
These heterogenous decisions around how in control the artist appears to be produce a bouquet of spindly arrows that allude to another question of control. Watt tells me he’s interested “in inter-nal turmoil, epiphany, ecstasy, creative rushes experienced in ordered, manmade environments,” instantly invoking cruising, but more broadly highlighting a tension between excesses of feeling and spaces where expression is coded in specific ways—the swimming pool being one such example. This new body of work might be thought of, then, as an experiment in reproducing that tension for the viewer; a kind of edging. As Marianne Moore wrote: “The deepest feeling always shows itself in silence; / not in silence, but restraint.” The exquisite, sharply geometric pools, lined with blue velvet and replete with identical hand-beaded lane dividers are of course small replicas of life-sized swim-ming pools that are themselves simulations of natural swimming holes, with their dark floors, bot-tom feeders, weeds, and leeches. The architectural pool seeks to provide comparable refreshment, exercise, and leisure without danger, or as Watt put it: “total transparency and no consequence.” But even in the most iconographic works, to literally lean in towards the wall, behind the velvet, is to find something unsettling after all—infinitesimal, mostly out of focus signs of things amiss, or in progress, or forgotten, or tangled, or private.
If this show were a person, they’d be lambently present but unknowable, one to leave a mysterious stain after brief, chasmic interactions—not unlike Watt himself, actually. The simultaneous desire and inability to rectify the works’ opacities spur speculation, theatrics, and roleplay. Riffing on Lee Edelman’s conception of queerness not as an ontological condition or identity category but as that which cannot be assimilated into the aesthetic (“the obscene remainder”), Deep End Epipha-ny might be considered an anti-essentialist engine that stirs suspicion of all facades. The quiet is charged by disquiet. Like a bubble from below, Ivan Illich’s conception of water slowly surfaces: “the fluid that drenches the inner and outer spaces of the imagination. More tangible than space, it is even more elusive… ”
– Jac Renée Bruneau
Douglas Watt (b. 1990, St. Catharines, Ontario) earned his BA in Art History (hons.) from Carleton University, Ottawa, in 2014, and was a visiting student in Criticism and Curatorial Practice at OCAD University, Toronto, in 2012. His practice has been the subject of solo exhibitions at Unit 17, Van-couver; Green Belt Gallery, Toronto. He has participated in group exhibitions at Downs & Ross, New York; Unit 17, Vancouver; Fine Art Framing, Vancouver; Greenbelt Gallery, Toronto. He has curat-ed exhibitions at Skylight Gallery, Vancouver; Niagara Artists Centre, St. Catharines, Ontario. The artist lives and works in Vancouver’s Davie Village on the unceded territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) people.
DOUGLAS WATT, Pools (Public), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, springs, galvanized wire mesh, rubber bands, enamel paint,
metallic thread, string, duct tape, paper clips, staples, canvas, plastic straws, garbage bag, tooth picks, drywall tape, grid sticker, bristol board, woodprinted shelf lining, metal grommets, MDF, screws, sequins, leather, hot glue, 30 1/2 × 18 1/2 × 5 inches / 77,5 × 47 × 12,7 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Pools (Public) (detail), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, springs, galvanized wire mesh, rubber bands, enamel paint, metallic thread, string, duct tape, paper clips, staples, canvas, plastic straws, garbage bag, tooth picks, drywall tape, grid sticker, bristol board, woodprinted shelf lining, metal grommets, MDF, screws, sequins, leather, hot glue, 30 1/2 × 18 1/2 × 5 inches / 77,5 × 47 × 12,7 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Pools (Public) (detail), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, springs, galvanized wire mesh, rubber bands, enamel paint, metallic thread, string, duct tape, paper clips, staples, canvas, plastic straws, garbage bag, tooth picks, drywall tape, grid sticker, bristol board, woodprinted shelf lining, metal grommets, MDF, screws, sequins, leather, hot glue, 30 1/2 × 18 1/2 × 5 inches / 77,5 × 47 × 12,7 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Porthole 1, 2021, Laser print on acetate, acrylic, nails, 6 3/8 × 5 1/4 inches / 16,2 × 13,3 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Sparger, 2021, Styrofoam, duct tape, popsicle sticks, LED lights, battery pack, sequins, silk organza, hot glue, inkjet printed confetti, archival adhesive, aluminum tape,
gaffer tape, window mesh, grid paper, staples, plastic straws, rubber bike inner tubes, Plexiglas, aluminum tape, toilet roll, string, cinder blocks, Dimensions variable, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Sparger (detail), 2021, Styrofoam, duct tape, popsicle sticks, LED lights, battery pack, sequins, silk organza, hot glue, inkjet printed confetti, archival adhesive, aluminum tape, gaffer tape, window mesh, grid paper, staples, plastic straws, rubber bike inner tubes, Plexiglas, aluminum tape, toilet roll, string, cinder blocks, Dimensions variable, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Sparger (detail), 2021, Styrofoam, duct tape, popsicle sticks, LED lights, battery pack, sequins, silk organza, hot glue, inkjet printed confetti, archival adhesive, aluminum tape, gaffer tape, window mesh, grid paper, staples, plastic straws, rubber bike inner tubes, Plexiglas, aluminum tape, toilet roll, string, cinder blocks, Dimensions variable, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Sparger (detail), 2021, Styrofoam, duct tape, popsicle sticks, LED lights, battery pack, sequins, silk organza, hot glue, inkjet printed confetti, archival adhesive, aluminum tape, gaffer tape, window mesh, grid paper, staples, plastic straws, rubber bike inner tubes, Plexiglas, aluminum tape, toilet roll, string, cinder blocks, Dimensions variable, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Downstairs (Bridged), 2021, Corrugated cardboard, hot glue, archival glue, coloured acetate, grid sticker, construction paper, plastic straw, grid paper, string, sequins, glass beads, popsicle sticks, rhinestones, stones, window mesh, acrylic paint, bus transfer, inkjet print on paper, plastic straw, plastic bobby pin, tissue paper, sand paper, glitter, sand, Canadian quarters, leather, cork, metallic thread, thread, stir sticks, duo-tang cover, aluminum tape, faux fur, soap, bristol board, gimp, cardboard tube, magazine cutouts, sticky note, marker, brass stud, pipe cleaner, gaffer tape, glass mirror tiles, plasticized canvas, bread tab, wire, mat board, felt, muslin, PVC tube, push pins, 60 × 20 × 2 1/2 inches / 152,4 × 50,8 × 6,3 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Downstairs (Bridged), 2021, Corrugated cardboard, hot glue, archival glue, coloured acetate, grid sticker, construction paper, plastic straw, grid paper, string, sequins, glass beads, popsicle sticks, rhinestones, stones, window mesh, acrylic paint, bus transfer, inkjet print on paper, plastic straw, plastic bobby pin, tissue paper, sand paper, glitter, sand, Canadian quarters, leather, cork, metallic thread, thread, stir sticks, duo-tang cover, aluminum tape, faux fur, soap, bristol board, gimp, cardboard tube, magazine cutouts, sticky note, marker, brass stud, pipe cleaner, gaffer tape, glass mirror tiles, plasticized canvas, bread tab, wire, mat board, felt, muslin, PVC tube, push pins, 60 × 20 × 2 1/2 inches / 152,4 × 50,8 × 6,3 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Downstairs (Bridged), 2021, Corrugated cardboard, hot glue, archival glue, coloured acetate, grid sticker, construction paper, plastic straw, grid paper, string, sequins, glass beads, popsicle sticks, rhinestones, stones, window mesh, acrylic paint, bus transfer, inkjet print on paper, plastic straw, plastic bobby pin, tissue paper, sand paper, glitter, sand, Canadian quarters, leather, cork, metallic thread, thread, stir sticks, duo-tang cover, aluminum tape, faux fur, soap, bristol board, gimp, cardboard tube, magazine cutouts, sticky note, marker, brass stud, pipe cleaner, gaffer tape, glass mirror tiles, plasticized canvas, bread tab, wire, mat board, felt, muslin, PVC tube, push pins, 60 × 20 × 2 1/2 inches / 152,4 × 50,8 × 6,3 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Downstairs (Bridged), 2021, Corrugated cardboard, hot glue, archival glue, coloured acetate, grid sticker, construction paper, plastic straw, grid paper, string, sequins, glass beads, popsicle sticks, rhinestones, stones, window mesh, acrylic paint, bus transfer, inkjet print on paper, plastic straw, plastic bobby pin, tissue paper, sand paper, glitter, sand, Canadian quarters, leather, cork, metallic thread, thread, stir sticks, duo-tang cover, aluminum tape, faux fur, soap, bristol board, gimp, cardboard tube, magazine cutouts, sticky note, marker, brass stud, pipe cleaner, gaffer tape, glass mirror tiles, plasticized canvas, bread tab, wire, mat board, felt, muslin, PVC tube, push pins, 60 × 20 × 2 1/2 inches / 152,4 × 50,8 × 6,3 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Downstairs (Bridged), 2021, Corrugated cardboard, hot glue, archival glue, coloured acetate, grid sticker, construction paper, plastic straw, grid paper, string, sequins, glass beads, popsicle sticks, rhinestones, stones, window mesh, acrylic paint, bus transfer, inkjet print on paper, plastic straw, plastic bobby pin, tissue paper, sand paper, glitter, sand, Canadian quarters, leather, cork, metallic thread, thread, stir sticks, duo-tang cover, aluminum tape, faux fur, soap, bristol board, gimp, cardboard tube, magazine cutouts, sticky note, marker, brass stud, pipe cleaner, gaffer tape, glass mirror tiles, plasticized canvas, bread tab, wire, mat board, felt, muslin, PVC tube, push pins, 60 × 20 × 2 1/2 inches / 152,4 × 50,8 × 6,3 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Joint Pool, 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, galvanized wire mesh, springs, rubber bands, metallic
thread, string, duct tape, MDF, paper clips, staples, canvas, corrugated cardboard, metallic paper, turkey bone, silk organza, coloured acetate, plastic, beads, calendar, necklace chain, cotton terry cloth, sand paper, mat board, PVC tube, metal grommets, pipe cleaner, drywall tape, plastic spiral hair tie, metallic tarp, 39 × 21 × 7 inches / 99 × 53,3 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Joint Pool (detail), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, galvanized wire mesh, springs, rubber bands, metallic
thread, string, duct tape, MDF, paper clips, staples, canvas, corrugated cardboard, metallic paper, turkey bone, silk organza, coloured acetate, plastic beads, calendar, necklace chain, cotton terry cloth, sand paper, mat board, PVC tube, metal grommets, pipe cleaner, drywall tape, plastic spiral hair tie, metallic tarp, 39 × 21 × 7 inches / 99 × 53,3 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Joint Pool (detail), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, galvanized wire mesh, springs, rubber bands, metallic
thread, string, duct tape, MDF, paper clips, staples, canvas, corrugated cardboard, metallic paper, turkey bone, silk organza, coloured acetate, plastic beads, calendar, necklace chain, cotton terry cloth, sand paper, mat board, PVC tube, metal grommets, pipe cleaner, drywall tape, plastic spiral hair tie, metallic tarp, 39 × 21 × 7 inches / 99 × 53,3 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Joint Pool (detail), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, galvanized wire mesh, springs, rubber bands, metallic
thread, string, duct tape, MDF, paper clips, staples, canvas, corrugated cardboard, metallic paper, turkey bone, silk organza, coloured acetate, plastic beads, calendar, necklace chain, cotton terry cloth, sand paper, mat board, PVC tube, metal grommets, pipe cleaner, drywall tape, plastic spiral hair tie, metallic tarp, 39 × 21 × 7 inches / 99 × 53,3 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Joint Pool (detail), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, galvanized wire mesh, springs, rubber bands, metallic
thread, string, duct tape, MDF, paper clips, staples, canvas, corrugated cardboard, metallic paper, turkey bone, silk organza, coloured acetate, plastic beads, calendar, necklace chain, cotton terry cloth, sand paper, mat board, PVC tube, metal grommets, pipe cleaner, drywall tape, plastic spiral hair tie, metallic tarp, 39 × 21 × 7 inches / 99 × 53,3 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Bead, 2021, Nail, plastic bead 1 inch / 2,5 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Trampoline, 2021, Cotton terry cloth, metallic thread, foam, MDF, staples, string, embroidery floss, archival glue, screws, fir, acrylic paint, 52 × 35 × 1 1/2 inches / 132,1 × 88,9 × 3,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Trampoline, 2021, Cotton terry cloth, metallic thread, foam, MDF, staples, string, embroidery floss, archival glue, screws, fir, acrylic paint, 52 × 35 × 1 1/2 inches / 132,1 × 88,9 × 3,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Trampoline (detail), 2021, Cotton terry cloth, metallic thread, foam, MDF, staples, string, embroidery floss, archival glue, screws, fir, acrylic paint, 52 × 35 × 1 1/2 inches / 132,1 × 88,9 × 3,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Pools (Public), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, springs, galvanized wire mesh, rubber bands, enamel paint,
metallic thread, string, duct tape, paper clips, staples, canvas, plastic straws, garbage bag, tooth picks, drywall tape, grid sticker, bristol board,, woodprinted shelf lining, metal grommets, MDF, screws, sequins, leather, hot glue, 30 1/2 × 18 1/2 × 5 inches / 77,5 × 47 × 12,7 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Pools (Public) (detail), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, springs, galvanized wire mesh, rubber bands, enamel paint, metallic thread, string, duct tape, paper clips, staples, canvas, plastic straws, garbage bag, tooth picks, drywall tape, grid sticker, bristol board, woodprinted shelf lining, metal grommets, MDF, screws, sequins, leather, hot glue, 30 1/2 × 18 1/2 × 5 inches / 77,5 × 47 × 12,7 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Pools (Public) (detail), 2021, Cotton velvet, fir, archival inkjet print on card, acrylic paint, eyelet screws, wire, glass beads, springs, galvanized wire mesh, rubber bands, enamel paint,, metallic thread, string, duct tape, paper clips, staples, canvas, plastic straws, garbage bag, tooth picks, drywall tape, grid sticker, bristol board,, woodprinted shelf lining, metal grommets, MDF, screws, sequins, leather, hot glue, 30 1/2 × 18 1/2 × 5 inches / 77,5 × 47 × 12,7 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Pool (w), 2021, Cotton velvet, fir, archival inkjet print on card, archival glue, acrylic paint, eyelet screws, wire, crimp beads, glass beads, galvanized wire mesh, rubber
bands, metallic thread, string, cotton velvet, cardboard tube, hole-punch reinforcements, colour laser print on acetate, duct tape, paper clips, staples,, silk organza, iron-on felt letters, 10 × 18 × 7 inches / 25,4 × 45,7 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle
DOUGLAS WATT, Pool (w) (alternate view), 2021, Cotton velvet, fir, archival inkjet print on card, archival glue, acrylic paint, eyelet screws, wire, crimp beads, glass beads, galvanized wire mesh,, rubber, bands, metallic thread, string, cotton velvet, cardboard tube, hole-punch reinforcements, colour laser print on acetate, duct tape, paper clips, staples,, silk organza, iron-on felt letters
10 × 18 × 7 inches / 25,4 × 45,7 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Pool (w) (detail), 2021, Cotton velvet, fir, archival inkjet print on card, archival glue, acrylic paint, eyelet screws, wire, crimp beads, glass beads, galvanized wire mesh, rubber, bands, metallic thread, string, cotton velvet, cardboard tube, hole-punch reinforcements, colour laser print on acetate, duct tape, paper clips, staples,, silk organza, iron-on felt letters, 10 × 18 × 7 inches / 25,4 × 45,7 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Pool (w) (alternate view), 2021, Cotton velvet, fir, archival inkjet print on card, archival glue, acrylic paint, eyelet screws, wire, crimp beads, glass beads, galvanized wire mesh, rubber, bands, metallic thread, string, cotton velvet, cardboard tube, hole-punch reinforcements, colour laser print on acetate, duct tape, paper clips, staples, silk organza, iron-on felt letters, 10 × 18 × 7 inches / 25,4 × 45,7 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Pool (w) (alternate view), 2021, Cotton velvet, fir, archival inkjet print on card, archival glue, acrylic paint, eyelet screws, wire, crimp beads, glass beads, galvanized wire mesh, rubber, bands, metallic thread, string, cotton velvet, cardboard tube, hole-punch reinforcements, colour laser print on acetate, duct tape, paper clips, staples, silk organza, iron-on felt letters, 10 × 18 × 7 inches / 25,4 × 45,7 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
DOUGLAS WATT, Pool (w) (alternate view), 2021, Cotton velvet, fir, archival inkjet print on card, archival glue, acrylic paint, eyelet screws, wire, crimp beads, glass beads, galvanized wire mesh, rubber, bands, metallic thread, string, cotton velvet, cardboard tube, hole-punch reinforcements, colour laser print on acetate, duct tape, paper clips, staples, silk organza, iron-on felt letters, 10 × 18 × 7 inches / 25,4 × 45,7 × 17,8 cm, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
Exhibition View, Douglas Watt: Deep End Epiphany, 2021, Image courtesy of the artist and Tara Downs, New York. Photo: Phoebe D’Heurle.
