Eoin's collage work invokes the Kafkian nightmare of faceless theocratic authority while spectres of colossi loom on the horizon with the residual hauntology of institutional fear and control. Monoliths and machinery recur, the fountainhead and product of knowledge, the knowledge and anxiety of a new dark age overseen by covert inquisitors and machines of loving grace. Eoin's work offers a criticism of meaning found in arbitrary semiotics, the consciousness of the post-bicameral mind and the ascendant logic of western civilisation.
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