NED BROCKLEHURST

PAUL:	After many years of trying to lure 
	him into our studios we have finally 
	succeeded.  I welcome to the Great Eastern, 
	performance and conceptual artist, Ned 
	Brocklehurst.

NED:	Paul.

PAUL:	Do I have that right Ned, performance and 
	conceptual artist?

NED:	I prefer the term experientialist.

PAUL:	There are so many things we could talk about 
	Ned, but I guess we have to start with the 
	announcement that you have received the 
	prestigious and, at two million dollars, 
	bountiful, Rideout Foundation Grant, also 
	known as the Newfoundland "Genius" award.  
	Congratulations on being only the third 
	recipient in what?  23 years.

NED:	Thank you.

PAUL:	Was it given for something in particular?

NED:	It was for a body of work, but the official 
	press release mentioned my work in unusual 
	media.

PAUL:	Could you tell us about that?

NED:	Sure.  I started out as a sculptor but soon 
	found that I couldn't find expression in 
	stone, I felt that hacking at the rock was a 
	violation of a .. more natural ... pure art. 
	That led to my work in sculptural 
	liberation or sculptural inversion.  Using 
	concrete, I returned previous sculptures 
	back to the earth ... to their natural 
	state. 

PAUL:	Yes.  Encasing Henry Moore's "Reclining 
	Figure" in cement certainly ruffled a few 
	feathers in the arts establishment.
	
NED:	It was criticised as being anti-sculptural. 
	But I reject that interpretation as simple-
	minded.  I'll take on anyone.

PAUL:	You were ... intercepted at the Milan 
	Airport on your way to ...

NED:	Do David in Venice.  Yeah ... that would 
	have been the ultimate expression of my 
	purpose.

PAUL:	Bags of lime were found in your luggage.

NED:	Still can't enter Italy, which keeps me from 
	the Bienelle.  They're scared of me.

PAUL:	Ah you know the critics, Ned, they only 
	respect you if they fear you.

NED:	That would explain the peace bonds.

PAUL:	From sculptural liberation you moved to ...?

NED:	Yeah.  After sculptural liberation I moved 
	on to auto cannibalism.

PAUL:	Yes. I saw you eat one of your own fingers 
	last year at the Gallerie Boron. M(eat) Me. 
	Powerful work.  But I guess this form ... is 
	subjected to some limitations ... in terms 
	of raw ... raw materials.

NED:	Yes.  I also did some work wrapping huge 
	structures in fabric.  Bishop Field College, 
	The Big Six building.  But, well ... it's 
	become kind of passe.

PAUL:	Trite even.  Do you resent Christo's blatant 
	rip-off?

NED:	I do Paul. Very much. 

PAUL:	Your latest "experiential" work is possibly 
	your most famous.

NED:	Ya.  I was elected to office and served as 
	the Minister of Tourism in the Nfld. 
	government.

PAUL:	A major work.  Three years of wit, dramatic 
	tension, pathos, stinging social commentary 
	and really ... lots of belly laughs, too.  
	Complex, yet accessible.

NED:	Your view is much more generous than the 
	Premier's I'll tell you.

PAUL:	Not an art lover?

NED:	A real philistine, an ultracrepidarian.  A 
	big sook.

PAUL:	So, you've got the big prize, the critical 
	acclaim, and the public loves you.  What 
	next ?

NED:	I'm having most of my cerebral cortex 
	removed.  I'll live in a vegetive state.
	I think it's the natural place for my work 
	to go now.

PAUL:	Ned, I know I speak for all of Newfoundland 
	when I say I'm looking forward to it.  Best 
	of luck and thanks for finally coming by the 
	Great Eastern.  I'd like to shake your hand, 
	but...

NED:	I understand, Paul.