After years of #worldcupdinners, this year I attempted #worldcupart: creating an artwork inspired by an artist from one or two of the countries playing that day, continuing until all 48 nations had been represented. The result is 48 works inspired by 48 international artists.
Part of the challenge was deciding which countries to represent before they were knocked out—and finding the time to make the work within an already busy schedule.
More than a playful exercise, the project became an opportunity to research international art practices and reflect on influence, interpretation and attribution. The works vary in quality, and some were necessarily quick or rushed, but that lack of preciousness was part of the process. It allowed me to share work more freely, feed my wider practice and become more aware of artists and approaches from around the world.
The research also raised questions about visibility: which artists surface, who supports them, and how the Western art system continues to shape the rules of the game despite its apparent internationalisation.
Part of the challenge was deciding which countries to represent before they were knocked out—and finding the time to make the work within an already busy schedule.
More than a playful exercise, the project became an opportunity to research international art practices and reflect on influence, interpretation and attribution. The works vary in quality, and some were necessarily quick or rushed, but that lack of preciousness was part of the process. It allowed me to share work more freely, feed my wider practice and become more aware of artists and approaches from around the world.
The research also raised questions about visibility: which artists surface, who supports them, and how the Western art system continues to shape the rules of the game despite its apparent internationalisation.
