Photographs by Misha Hollenbach.
64 pp., Illustrated throughout, 4½x7".
In a lineage that extends through Jim Shaw, Andy Warhol and Marcel Duchamp, the rallying around the already readymade repositions things for freer symbolic enterprises. In the re-presentation of shit, Misha touches upon the etymological origins of faeces, which derives from faex, the Latin for dregs. He is using the dregs, things humans have casted away; shit becomes a metaphor for the unwanted.
By putting these outcasts back together with ready mix, the images of the objects do not return to us as they normally should; they lose their original function. With this method, he is breaking our own need to put the image back together in a fixed or familiar way. He strips back the structure of meaning — and this brings about a danger: the readymades return as phantasms and representations of abstract ideas. A Hush Puppy becomes a Push Poopy (complete with a 14 inch butt plug and a shit on its head). Doodoo becomes Dada.