Maris

Schiehallion: s.p. (Maris), n.d. (2002) 29 x 21cm, 1pp high resolution full colour ink jet facsimile copy of a letter sent by Jacques Derrida to Maris regarding their work "The Truth in Painting" which was a response to Derrida's philosophical work of the same title. Maris pulped a copy of Derrida's book and made it into a grey pigment which they used to paint 12 canvasses which were hung as "The Truth in Painting" in Paul Robertson's Heart Gallery in Edinburgh in 2002. JOINT: ANNOTATIONS ON THE TRUTH IN PAINTING. Two 30 x 21cm, 1pp sheets with notes by the artists on the philosophical implications of their work. JOINT: JUSTIFIED SINNERS. Edinburgh: Morningstar Publications, 2002 12.5 x 17cm, 2pp announcement card for the title publication - the image on the front of the card is a reproduced photograph of Alexander Maris holding a Kalashnikov rifle in a countryside landscape. On the reverse is a note to Paul Robertson apologising for forgetting to send the facsimile and noting their design for an announcement card for the exhibition was included. JOINT DESIGN FOR THE TRUTH IN PAINTING AND OTHER PROPOSITIONS. 2002. Two 30 x 21cm, 1pp sheets with a design for the front and back of the proposed announcement card for the artist's show in Heart Gallery. ALl VG+. ...

Loch Ranoch: Maris, 2020
30 x 21cm, 2pp archival inject print on Hahnemuhle German Etching paper inviting Paul Robertson to a “requiem supper” by Alexander and Susan Maris commemorating the 50th Anniversary of Celtic (Kinloch Rannoch) Scottish Symphony by Joseph Beuys and Henning Christiansen. The event has a menu of soup, fish and other Scottish gourmet items but sadly the event was “in spirit only” and a theoretical meet up (in part because the COVID-19 pandemic had meant lock-downs in parts of Scotland were in place and travel dsicouraged). Signed by both Alexander and Sue Maris on the reverse. VG+.
JOINT:
30 x 21cm, 1pp press release for the event. VG+.

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Rannoch Moor: s.p. (Maris), 2015
30 x 42cm full colour unique c-print showing one of the graves from the Potter's Field installation - this was the first exhibition in the Garden at LUST & THE APPLE. Each of 9 "graves" were simple mounds of bare earth, each marked with a single unadorned white quartzite stone, sourced from Schiehallion – a ‘sacred mountain’ apocryphally linked to the Knights Templar.
The path between the graves and the paved square at one corner of the Field contained a ‘Temenos’. The public are invited to leave their own offerings to the deceased Muses within the Temenos.
"Enter with reverence and respect for the nine Muses /who are buried in this Potter’s Field. /Do not desecrate their Memory.  A Potter’s Field containing nine pauper’s graves, one for each of the classical Muses is found>"
The photograph shows one of the graves which is starting to be overgrown with weeds and one of the headstones. Unique. Signed on the bottom.

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Glasgow: s.p. (Maris), n.d. (2005) 29 x 21cm, original found exhibition catalogue by Joseph Beuys which has lost its covers and shows evidence of fire on all sides. The book has been sealed into a plastic transparent sheet with added cloth plasters. Additionally the book has been signed "Bysue" - an anagram of "Beuys" and with a small drawing of a hat - both deliberately looking like an original Beuys signature and drawing.
The history of this book tells the tale - it was found by a relative of Sue Maris after a house fire and stolen and then hidden (in case it was valuable). Suer Maris found this out at a later date and stole the book back from the thief. She then buried in a metal casket in Rannoch Moor for a number of years.
On taking the book out from its hiding place, the artist's created the final form with the addition of the "forged" signature - By Sue - and sealed the book. it was later given to Paul Robertson by Maris as a gift following an exhibition at Heart Gallery in Edinburgh.

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