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broken bottle (revisited)

hidden love you

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'tpewiter' and 'cat'

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The objects in this arrangement are all connected to a person who used to be a really important in my life that I lost a little over 6 months ago. In this still life my intention was to write a letter to them and to observe that moment at a distance for a moment with a bit of an altered and twisted perception after having some time away to think about our relationship and where we left off before they eventually left as well.

Working with this in photoshop, I wanted to create really bright lights and augmented pieces in the picture to give it a more dreamlike quality and create a respectable amount of distance between reality and 'fantasy' so to speak.The basically whited out angel wings, over exposed Arizona can, and several times removed pencil all add to the ambience of a warped perception, which was my goal for the assignment.

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The title and theme of this show is ‘Rough and Eerie.’

Each of these works have rough textures that are a result of how they were made or manipulated for presentation. I wanted to combine art pieces that looked a little offputting and out of place with the eerie and backroom-esque-ness of the exhibit space to create an unnerving experience for any visitors. 

Take, for example, the rectangular wall piece by artists Klaudia Januskó and Masa Sallai. Its rough edges and corners make a jarring and interesting composition, and the colors aren’t terribly bright either for such a standout piece. The piece titled ‘Optimism’ by Mark Liam Smith features a slightly beaten up and stained tube of paint that, I believe, stands out as a small blotch of remarkable color in this otherwise dull and uncomfortable space. ‘Grey Sun’ by Isamu Noguåchi sits in a similar realm of standing out, but in a rather unearthly way: ethereal and onlooking. This is the only piece that sticks out for it’s smooth surface texture, but rough visual appearance. ‘Plinth’ by Karoline Dausien, in the right corner, also stands out for being the most detailed piece on how many items it has attached to it. It’s comprised of an eclectic combination of items that don’t make any inherent sense; it’s a perfect addition to this curation. Lastly, ‘Immortal 22, 2023’, by Masatsugu Okada, overlooks the room, hanging from the corner with a semi-crooked smile in hopes that you’ll enjoy the show beneath him in a creepy, yet charming, way.

I believe, like many others, in the importance of expression in art. Whether it’s immediately apparent what you’re ‘supposed’ to feel, or what you ‘should’ feel when looking at an art piece is besides the point. How you interpret what you’re looking at is the right way, and sometimes that may not be what the artist intended. And in all honesty, f* that. But I do hope this composition of these pieces in this arrangement in this space does make yo go ‘huh’, and just wonder what was going through my mind as I organized it.