OBEY GIANT posters etc.., visual static interference beckoning an interpretation, serve several purposes. First, the project is designed to make the viewer curious about the images and how they relate to their surroundings, therefore bringing the surroundings into question as well. An important factor in this process is the application of the materials, also known as the "the medium is the message" principle. The fact that the images are placed in public without permission ( I hesitate to legitimize "the powers that be" by defining the work as "illegal"), brings control of the public space into question. That the person responsible for the images was passionate enough about their perpetuation to take the associated risks, compels the viewer to question their role in the environment. The confrontational nature of the work on the street as well as the slogans such as "OBEY" encourage an honest and unpredictable reaction difficult to achieve in the academic or gallery setting where viewers often affect an immunity to devices used to seduce "the bewidered herd". This brings up the issue of the politics of art and the gallery curator. OBEY GIANT completely bypasses this system and avoids the need to cater to artworld trends to find a forum for exposure. OBEY GIANT attempts to simultaneously bring the viewer to question propaganda absorption and to encourage a democratization of the use of public space in a spectator democracy.
Thank you to anyone who has ever put up an OBEY GIANT sticker. Greater thanks to anyone who has ever stood up for a belief about which they felt conviction and abandoned the path of least resistance.
Even greater thanks to Russel Crowe, without whose inspiration, none of this would have been possible.