Dominic Marcellus-Temple works in a variety of media, currently with a focus on installation/assemblage. His work is primarily centred on the recontextualisation of received knowledge, questioning its validity within the frame of the current socio-political, rationalist context and exposing the vacuities, dichotomies and absurdities within widely held and reiterated concepts.
Dominic believes that art should be universally accessible and, as such, makes work that is visually engaging, devoting considerable time to the research into and acquisition of unfamiliar objects, evoking the wonder of the museum precursor: the Cabinet of Curiosities. These esoteric objects, whilst drawing the gaze, simultaneously become the derided, shallow spectacle, a mere device that draws attention to the wider enquiry.
Superimposed over the assemblage are audiovisual components that both reflect the function of the objects as mnemonic devices, and aid the viewer in questioning the legitimacy of the arguments presented. The combined effect activates the observer’s senses; this heightened sensory awareness seeks to bypass the mechanisms we use to negotiate our everyday experience, allowing us to question our accepted position and, ultimately, seeks to destabilise our belief systems.
Dominic strives to maintain an opposing duality of opinion in his work allowing constant reevaluation of any argument and this is eloquently expressed in Scott Fitzgerald’s pronouncement, “An artist is someone who can hold two opposing viewpoints and still remain fully functional.”
Dominic has exhibited widely; he occasionally writes as a critic and art historian under a pseudonym, he was instrumental in the establishment of the Plymouth Art Weekender, sits on the boards of diverse cultural organisations and is a director of an artist-led creative arts facility.