After moving to The Netherlands back in 1996, I began to frequent Flevopark, my neighbourhood’s park in Amsterdam, with the aim of finding an accomplice for my Plan of Invasion to Holland. I armed myself with a wooden decoy of a dog, a portrait of my companion dog Petra that I had carved by heart, and I “walked” her for a month. The decoy was very effective in attracting the attention of real dogs, and of their owners, who followed suit. That’s how I met Lotty van der Voorn and her five dogs. She shared her address with me so I could keep her up-to-date with my next actions in the park. We started a correspondence along which she became the sole spectator of The Invisible Tree.
With A Good Wooden Dog, I played with the notion of decoy in my work for the first time, as a mean to attract the attention of a specific viewer with whom I would enter in collaboration to develop the creative process of a piece or project.
A Good Wooden Dog
Edition of 3 + 1AP