At the top of the entrance to the Georgia and Granville skytrain station, the actor who played the former chief coroner of BC and mayor of Vancouver, Larry Campbell, lies in state. Elongated on a polished mortuary slab, the body patiently awaits inspection. Firmly planted at the centre of commerce in Vancouver, actively conflating power, politics and death, the whole scene is disorientating, uncanny, if not outright confrontational.
Spanning the entire north wall of the station, the picture is massive both in size and scale. Slightly larger than a typical city billboard, the body is monstrous. The photograph, subtracted from the slogans and brands of commercial imagery of its surroundings, exerts a dramatic austerity. For the passengers moving to and fro on the Skytrain stairwell, the picture appears at first out of place. The billboard both dwarfs commuters and exerts a definitive presence without them. Viewing the work from the Skytrain stairwell, your eye acquires a CSI spectacality and magnifies the body’s intense physiognomy. In the excessive attention to detail, the body’s part-objects take hold of the image: yellow-mangled toenails; sparse leg hair; a few flesh wounds (bed-bug bites?) — each atom asserts an iconic clarity. Within these moments of distraction, it becomes difficult for your eye to stake claim on the image’s totality. In the passengers’ movement, the picture demands a contradiction: a probing gaze onto the photo’s extreme minutiae yet also a skill for the fleeting glance conditioned by the stairwell’s tempo. In a matter of seconds, Campbell’s body unpacks itself piece by piece as we whirl downward to the depths of the platform.
Mounted on transparent glass, the image is a mirror onto itself, and the audience is permitted to view its reverse from the TD Plaza. From this angle, the eye is able to relax and ease into a sedate, plodding study. If it were not for Campbell’s face and stubborn hand, you could almost say the rest of the body was silently composed, patiently awaiting its public with a globular paunch, its legs elongated as though they were just there, sunbathing on a beach.
Once we are confronted with Campbell’s face, however, a different presentation unfolds. Campbell’s gaze is irreverent. As it turns out onto the plaza, and with a gesture that is more aggressive than the rest of his body, his head rejects its placement. With a wide-eyed, brow-raised, mouth-slightly-open glance, Campbell’s face is punctuated with a theatrical exclamation and an eagerness to vocalize something. Sharing a similar glance to Poussin’s ‘running-man’ in Landscape with a man killed by a snake (1648), the body wishes to declare itself, yet it is without the same horror and torsion. The hand, too, is eerily similar to the elegiac shepherd in Poussin’s Et in Arcadia Ego (1640), raised as though it is about to gesture to the presence of an unexpected tomb. In both pictures, Ecce Homo and Et in Arcadia Ego, the hand operates as the picture’s anchor. It is the site for the body’s own contemplative absorption — a means to trace out a pensive, melancholic thought both inside and outside the frame.
We have to ask ourselves however, is this the same ‘sight of death’ that Poussin announced, or even an image ‘of death’ as one might assume? Is it not more ludic, aloof and underhanded? Without the knowledge that Campbell was the chief coroner of BC, or even the presence of a mortuary table, there are no clear markers of death.
But Thauberger is clear at this point: both work and death are conflated in the picture. As chief coroner, death was once Campbell’s work, but now death works on Campbell. But it also works on Larry Campbell’s body double, Nicholas Campbell — the actor who played the former coroner on the TV series Da Vinci’s Inquest (1998-2005) and later in Da Vinci’s City Hall (2005) — especially now when the former actor is out of work. In a weird set of intersections, the camera too assumes the perspective of the coroner, and by detaining the eye, the body appears as though it awaits dissection. But still, the picture remains unconvincing, the body is certainly more alive than dead; or in its own manner just undead, barely hanging on — a body set at the threshold of life and death.