'Knot Drawing', 2016, pen op paper, 420x594 cm
Immediately after the crime scene tape had been removed from the coral stone steps of the Versace mansion, but before the steps were blanketed with roses, teddy bears and gushing eulogies, a fan rushed over with a Versace ad torn from a copy of Vogue magazine and started mopping up Versace’s blood with it to make a kind of souvenir. That decision must have been made very quickly, to use an image printed on glossy non-absorbent Vogue paper to mop up the still wet blood, still not congealed, but after his body had been taken away, but before it dried in the mid July Florida sunshine, and still not soaked into the porous surface of the coral stone steps of his mansion.
— From the performance Predator Versace Bleached
Sam Keogh works across installation, sculpture, performance, drawing and collage. In recent work his installations facilitate a performance which morphs sculpture into props and collage into mnemonic devices or surfaces to be read as a half improvised pictorial script.
For the RijksakademieOPEN 2016 Keogh is presenting Predator Versace Bleached, which knots together three disparate themes; coral bleaching, the murder of fashion designer Gianni Versace, and a critique of the 1987 sci-fi action horror movie Predator. (SK)