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For Jane Bennett the pathologic hoarder expresses a heightened sensitivity to the world of objects, not some vestigial evolutionary trait gone haywire post-scarcity. For Bennett's hoarder the world is a little like Toy Story 3, in which the cheap and mass produced must be saved from the incinerator, kept indefinitely and experienced with connection. And perhaps the mass production doll replacing the handmade one coincides with a turn from paganist expression to materialist hoarding expression. Anyway, Spaysky, who feels something towards garbage, attempts smuggling their components out of the trash. The "warm" items of refuse attempt their own repackaging, a reincarnation, second life in the only way objects know how: camouflaging themselves as fresh commodities. Like the drug smuggler casting his contraband in the shape of Jesus and painted to escape the prying eyes of men seeking to ruin them, Spaysky recasts the trash as flimsy endearing objects that we are made to love.
See too:
Yuji Agematsu at Real Fine Arts,
Yuji Agematsu at Artspeak
