Geoffrey Farmer – Works

Geoffrey Farmer, A way out of the mirror, 2017, cast aluminum, cast bronze, acid etched brass, water technics, dimensions variable

Geoffrey Farmer, Spoons, 2017, ink on paper, each 36 x 28 in. (90 x 60 cm)

Geoffrey Farmer, LIPSTICK BRICK WITH MID VOWEL AFOUL DISH TOWEL, 2017, ink on paper, theatre backdrop (1939), backdrop: 71 x 200 in (180 x 508 cm), drawing: 18 x 12 in. (45 x 30 cm)

Geoffrey Farmer, BLUBBERED HUBBARD KITCHEN CUPBOARD, 2017, theatre backdrop (1939), 62 x 165 in. (157 x 418 cm)

Geoffrey Farmer, THEMSELVES, ITSELF SHELFSELF, 2017, theatre backdrop (1939), 119 x 180 in. (302 x 458 cm)

Geoffrey Farmer, ATTUNED FULL MOON BROOM WITH TALL WALL SCRAWL, 2017, theatre backdrop (1939), foam, plastic, paint, backdrop: 183 x 163 in. (464 x 414 cm), broom: 148 x 26 x 9 in. (375 x 65 x 23 cm)

Geoffrey Farmer, COVEN SHOVEN OVEN FOR THE BADLY BEHAVED, 2017, theatre backdrop (1939), 103 x 117 in (261 x 297 cm)

Geoffrey Farmer, Utensils, 2017, theatre backdrops (1939), dimensions variable

Geoffrey Farmer, WOODEN, HIGH, CRUSTY AND DUSTY AND SADLY SAGGING, 2017, theatre backdrop (1939), 95 x 148 in. (240 x 375 cm)

Geoffrey Farmer, Jungle, 2017, theatre backdrop, 52 x 107 in. (132 x 271 cm)

Geoffrey Farmer, Empty Words, 2017, theatre backdrop, 78 x 178 x 6 in. (198 x 452 x 15 cm)

Geoffrey Farmer, Fire Escape with Window, 2016, theatre backdrop, wood, 145 x 144 in. (368 x 365 cm)

Geoffrey Farmer, Yellow Blinds, Illuminated in the Last Electric Blue of the Silence Dusk, 2016, theatre backdrop (1940s), pins, 96 x 90 in. (244 x 229 cm)

Geoffrey Farmer, The Sound Of A New Dress, 1966–1991, 2015, wood, paint, copper, bell, 102 x 90 x 6 in. (258 x 227 x 15 cm)

Geoffrey Farmer, Don't Forget to Live the Life We Promised to Forget, 2015, mixed media, paper and metal spike, 18 x 13 x 13 in. (45 x 33 x 32 cm)

Geoffrey Farmer, Archaeology with Looking at a photograph of myself and realizing I had a potato instead of a head (Fountain), 2014, vitrine with cut-outs mounted on 5 vertical clay slabs, 4 wooden wall brick façades, paint, sandbags, framed cut-outs and ink mounted on paper, dimensions variable

Geoffrey Farmer, Good and Evil, 2014, decommissioned cedar telephone poles, chainsaw carving by Brigitte Lochhead, wooden wall brick façade, dimensions variable

Geoffrey Farmer, Banana and Grass, 2014, paint, foam, grass, metal stand, 2 wooden wall façades, paint, window, sandbags, dimensions variable

Geoffrey Farmer, Journals with Norman Bates (Fountain), 2014, vitrine with 8 cut-outs collaged on foamcore, 2 wooden wall façades, paint, window, sandbags, framed cut-outs and ink mounted on paper, dimensions variable

Geoffrey Farmer, Workbooks with When I got fired from that Beckett Play (Fountain), 2014, vitrine with 5 cut-outs collaged on foamcore, 2 wooden wall façades, paint, window, sandbags, framed cut-outs and ink mounted on paper, dimensions variable

Geoffrey Farmer, Poles, 2014, douglas fir poles, photographs mounted on foamcore, dimensions variable

Geoffrey Farmer, This is where the plate goes. If you stare at it long enough it starts rotating to the right. I imagine the garden on the carpet doing the same. This makes it a planet. I am flying above the city, spinning. Then...the Baboon is, upset. He is picking at the post and his leathery bottom sits on the branch, which he has worn down. His tail hanging limply, not like a branch, more like a rope. Then the other monkeys, especially the young ones are saying, “share with me! share with me!” In the carpet you can see a plant with a huge eye, and if you stare long enough into it, the pot and the bird emerge. with As I imagined time-figure, foreseen in the opera just before the dancing spider leg (for Hannah) (Fountain), 2014, douglas fir pole, 7 photographs mounted on foamcore, plastic topiary, 2 wooden wall façades, paint, window, sandbags, framed ink and cut-outs mounted on paper, dimensions variable

Geoffrey Farmer, Mother and Child, 2014, framed cut-outs mounted on paper, wooden wall façade, paint, frame: 26 x 34 in. (87 x 67 cm), wall façade: 48 x 96 x 11 in. (122 x 244 x 28 cm)

Geoffrey Farmer, Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell, 2010–2014, computer-generated algorithmic montage sequence, dimensions variable

Geoffrey Farmer, Boneyard, 2013, paper cutouts, wood, glue, dimensions variable

Geoffrey Farmer, Let's Make The Water Turn Black, 2013, a theatrical presentation of sculptural objects on a stage, with animatronics, audio and lighting directed by various computer programs, 289 x 360 x 90 in. (734 x 914 x 229 cm)

Geoffrey Farmer, Leaves of Grass, 2012, LIFE magazines (1935–1985), archival glue, miscanthus grass, floral foam and wooden table, dimensions variable

Geoffrey Farmer, Untitled, 2012, mirror, LIFE Magazine cutouts, wood shelf, tape,  23 x 76 x 5 in. (59 x 192 x 12 cm)

Geoffrey Farmer, Metal Will Stand Tall (A Single Image Is Not A Splendor), 2011–2012, found metal, LIFE Magazine cutouts, rock, wire, 69 x 39 x 28 in. (175 x 99 x 71 cm)

Geoffrey Farmer, If You Want To See Something Look at Something Else (Allen Ginsberg 1926–1997) from The Invisible Worm that Flies in the Night, 2011, 50 colour photographs mounted on perspex, framed, dimensions variable

Geoffrey Farmer, Meditating ruminating cows. They contemplate the metamorphosis of the light from distant cosmic texture into the mater. But the cow did not keep this knowledge to herself. She delivers the benefits with her milk. (Zurich, Switzerland, in the Spring of 1919) from The Invisible Worm that Flies in the Night, 2011, variable components and dimensions

Geoffrey Farmer and Jeremy Millar, Mondegreen, 2011, variable components and dimensions

Geoffrey Farmer, Proof of an External World, 2011, display case, images cut from books and magazines, map tacks, 32 x 43 x 2 in. (82 x 108 x 5 cm)

Geoffrey Farmer, The Vampire of Coyoacan, 2010, sculptural objects, sound and light installation on raised platform, various mixed media, mac mini, entec dmx box, fire box sound interface, servo motors, LED lights, speakers for 6 channels of sound, amplifier, dimensions variable

Geoffrey Farmer, God’s Dice, 2010, variable components and dimensions

Geoffrey Farmer, Anaglyph poster, I saw Paul Virilio's face in a rock at the Source of Saint Leger, 2009, anaglyph poster, 72 x 50 (184 x 128 cm)

Geoffrey Farmer, Ongoing Time Stabbed With a Dagger, 2009, mac mini, servomotors, LED stage lighting, incandescent light bulbs, copper pot, miniature shutter doors, bowler hat with feathers, pigeon timer chart, knife, wooden spoon, yellow rag, scrub brush, door knob, artificial grass, barrel, wooden vase, candle light, black academic gown, white jug with plant, wooden basket, chair, gas mask, peacock feather, door knob, prop cane, thread bobbin, painting by Sophie, section from Guernica, Picasso wearing bowler hat pierced with needle and thread, page from Foundations of Modern Art, framed work, 89 x 118 x 118 in. (226 x 300 x 300 cm)

Geoffrey Farmer, The Surgeon and the Photographer, 2009, paper, textile, wood, metal, 365 figures, each figure approximately 18 x 5 x 5 in. (45 x 13 x 13 cm)

Geoffrey Farmer, I'm Not Praying I'm Just Stretching, 2008–2009, candle snuffer, abandoned Quaker-style chair taken from the streets of Boston, Among The Night People by Clara D. Pierson borrowed from the Library of the Beacon Hill Friends House, photograph of the human liberty bell (1918), branch from a tree used for public hangings in the Boston Common, light socket with the embossed words ‘proclaim liberty throughout the land’, found bell inscribed with the date 1991, a bell clapper/moth feeder made from a cotton ball soaked in a solution of sugar derived from a candy taken from a Felix Gonzales-Torres work, drinking glass, vase, antique bottle, lights, various notes, dimensions variable

Geoffrey Farmer, Theatre of Cruelty, 2008, props, found objects, fabric, computer-controlled LED lighting system, speakers, framed photographs, dimensions variable

Geoffrey Farmer, The Idea and the Absence of the Idea (Not the Work, the Worker), 2008, paper pile produced as post-it notes from Musée d’Art contemporain de Montréal’s ‎hardwood floor at Papeterie Saint-Armand

Geoffrey Farmer, The Fountain People, 2008, video projection, 10 minutes looped, handwritten text on paper, dimensions variable

Geoffrey Farmer, I am by nature one and also many, dividing the single me into many, and even opposing them as great and small, light and dark, and in ten thousand other ways (I know what it is like to fall), 2006–2008, mixed media, dimensions variable

Geoffrey Farmer, And Finally the Street Becomes the Main Character (Clock), 2005–2008, wooden stage, computer controlled soundscape, 8 speakers, styrene brick, glass shards, paint can, tree branch, paint tray, stool, artificial ivy, hand carved wooden bowl, cardboard boxes, wooden mallet, protest sign, cardboard tubes, leather suitcase, folding chair, towel, sweater, desk lamp, string, blanket, light bulbs, tripod, sponge, lock box, tissue, paper bag, oil can, moth, thread, masking tape, felt, books, rag, wooden figure, spoon, paint, styrene cup, chopstick, candleholder, ballet costume, brass sculpture, found wood, various framed works, dimensions variable

Geoffrey Farmer, The Last Two Million Years, 2007, foamcore plinths, perspex frames and cutouts from selected pages of the history book The Last Two Million Years, dimensions variable

Geoffrey Farmer, Nothing Can Separate Us (When the Wheel Turns Why Does a Pot Emerge?), 2007–, cast bronze bell and bell tower with rope made at Whitechapel Foundry, London, England, false brick wall, 2 concrete bases with wood posts, wood, steel, rope, improvised bell, improvised remote bell trigger, remote electronic transmission system, video, dimensions variable

Geoffrey Farmer, Whose work are we doing?, 2007, 25 posters, brass bell painted black, hook, archival box, dimensions variable

Geoffrey Farmer, Streak of Light, 2001–2007, prop newspaper box, newspapers with paperweight, 18 x 24 x 62 in. (46 x 61 x 157 cm)

Geoffrey Farmer, Airliner Open Studio (installation), 2006, variable components and dimensions

Geoffrey Farmer, A Pale Fire Freedom Machine, 2005, Dominique Imbert fireplace, rubber stamp and inking supplies, numerous inventory of tools and workshop supplies (such as wood benches, chop saw, vice, sand blaster, wooden boxes, stump, axes and various tools), inventory booklet of visuals and description, dimensions variable

Geoffrey Farmer, Battered Moonlight (Pale Fire Freedom Machine), 2005, lightjet (endura archival photo paper), 50 x 38 in. (126 x 97 cm)

Geoffrey Farmer, In the beginning the end often looks like this, engulfed in stillness, immobile and ultimately in the final version, haunted., 2004, transmounted lightjet print, 72 x 72 in. (183 x 183 cm)

Geoffrey Farmer, Wash House: Even the foul dirt and putrid stains of your life know their fate!, 2004, tar paper, wood, working washing machine and dryer, drawing, dr. bronner’s peppermint bar soap, poster, 100 x 194 x 54 in. (254 x 493 x 137 cm)

Geoffrey Farmer, I thought that I could make a machine that would pierce the fabric of reality, in your world it appears as a 16th-century sign, 2004, DVD , monitor, sculpture dimensions variable

Geoffrey Farmer, Every surface in someway decorated, altered, or changed forever (except the float), 2004, mixed media, dimensions variable

Geoffrey Farmer, Actor / Dancer / Carver, 2003, lightjet print, basket, wood, rope, VHS video loop, video camera, monitor, various materials, dimensions variable

Geoffrey Farmer, Trailer, 2002, steel, fiberboard, mixed media, 134 x 87 x 354 in. (340 x 220 x 900 cm)

Geoffrey Farmer, Box with the Sound of its Own Making, 2002, looped DVD projection, 17 minutes, 10 seconds

Geoffrey Farmer, Daily Times, 2002, film props, dimensions variable

Geoffrey Farmer, Entrepreneur Alone Returning Back to Sculptural Form, 2002, mixed media, dimensions variable

Geoffrey Farmer, Puppet Kit (Personality Workshop), 2001, crate, various media and video, dimensions variable

Geoffrey Farmer, Hunchback Kit, 2000, crate, lights, electrical cords, drawings, research documents, monitor, VCR, videos, dimensions variable

Geoffrey Farmer, Void Numbering Project (continuous), 1992, wooden box containing various materials such as paint, paintbrushes, masking tape and shelf with plexiglass top, dimensions variable

Geoffrey Farmer, Runaway Horse, 1991–1992, postcard and written notes on paper, 20 x 12 in. (51 x 30 cm)

Geoffrey Farmer, Notes For Strangers, 1989–1990, small typewriter, 6 typewritten notes on paper, transfer ticket, shelf with plexiglass top, dimensions variable