Identity avant ou après -we stir it up

 

CASTEL DIAZ                         Castel Diaz

Patterns, simulated textures and odd juxtapositions are revealed here in quirky perspectives. Castle Diaz presents female beauty as a kind of half hollow statue where Rauschenberg meets Duchamp meets Vogue’s Erte with Art Deco flair. We certainly construct our identities with a relationship to our inherited past.

abstract fashion

abstract fashion

Whether the flora and fauna of the environment take over in ambiguous disguise

DAWN BLACK

DAWN BLACK

or if provocative hidden agendas trap our identity with pseudo disregard,

wouldn’t it be fun to just throw away all our knowing baggage and pretend we were something else, utterly?

What do you imagine this to be?

 


VIKTOR & ROLF

VIKTOR AND ROLF

I don’t need to explain these incredible collections nor interpret them,  you might see glimpses of the Cubists, a few riddles, ironies and the nonsensical, regardless marvel in the human genius of our creative spirits….pretty darn kool.

 

 

and then turn this one up really loud, lay back and enjoy the purity of the entire collection, you might even weep it is amazing…it just gets better and better…

 

and notice how the artist is present in the first and last…what do you make of that?

IN this last fashion performance there is something about the ‘ordering’ of human and space in our daily life. The day is a contemplation as much as it is an interaction of forces, how we land and inhabit our human form and feeling in space, the memories a space contains whether they are of shared or isolated experiences. Space has lightness as much as gravity. I am engrossed less with the fashion here than I am with the construction of mood and invisible space.

Do you think about your relationship to space? How do you feel in open spaces vs tight spaces vs cluttered spaces vs highly ordered minimal spaces? Perhaps in heavy spaces we feel the lightness of being and in airy spaces we feel incredibly grounded…

Proximity to one another and isolation from one another takes on a whole other set of psychological implications and I am not sure DRESS has anything to do with that other than it can externalize inner pressures and expressions of the self in the variety of environments we move thru daily.

 

 

 

 


Baudrillard’s Blue

BLUE, BLUE, BLUE-BLUE BLUE

Blue chip

Blue Chip

Jean Baudrillard photo of a tree

Blue Tree

Blue bed-ness

Blue Bed-ness

Blue behind it all

Blue behind it all

Jean Baudrillard and blue magic

Jean Baudrillard’s blue surface

Blue wall

A Blue wall

There is a sense of the infinite with the color blue. It isn’t earthly. Within Nature it can strike as artificial, in a bedroom with our dreams, on peeling walls like the gems of lapis lazuli, like the filtering transparency of liquid, and into and thru openings of construction. These are the works of Jean Baudrillard. Jean Baudrillard is famous for deconstructing reality as we think we know it – “REALITY IS DEAD”, he played with simulacra, the hyperreal, the effects of technology on society, the absence of a subject, and the trickiness of language to name a few.  HE said once “I like photography as something completely empty, ‘irreal’, as something that preserves the idea of a silent apparition.” 

Do you equate truth with the visible reality of things?


RINA BANERJEE – A Red Taj, a hag, a tortoise and the devouring human

RINA BANERJEE

Our hunger for the light; the colorful, the sacred and the inexplicable comes with the tethered inescapable agent of a dark absence; where we weather with loss, the profane and a greedy curiosity. A curiosity that nails a kind of truth to the human mirror; of countless illusions tormenting us with constant frequency upon our psyche daily. While we like to think we can navigate our ‘desires’ that come from an unconscious greedy curiosity, we more often migrate between one deceptive appearance or impression to the next. Humans aren’t that complicated. We devour at rapid rates which ironically begets ‘more’ into the world and our box of pleasures never empty.  To sacrifice any of our sensorial world would surely send us to a symbolic grave.

When I study the work of Rina Banerjee I admire her display of this human predicament. We are rich and textured, specific and peculiar and really good at making life up. The work of our imaginations is elemental and necessary, after all humans wouldn’t survive without sharing a story or two. For this and to the artist I am forever grateful.

The world of Banerjee is both personal and cosmic. She offers a fluctuating, dynamic universe that makes disgust look enticing, beauty to look ugly, the intricate look impossible. There is a kind of hypnosis that overwhelms me. This is true of our culture; the superfluous is intoxicating to the point  where we become dulled, stuck and fruitless. However, when I study how she relates and combines with materials I know that if any part of her work came undone, Shiva would burn me to ashes! https://en.wikipedia.org/wiki/Shiva The coordinating and arranging, the aligning and the assembling of materials is like she is uniting all the differences of the world together. Very refreshing.

 

 

Assemblage by Rina Banerjee

‘Can you believe the beast in her beauty was born out of a vilified attack on her mother’s moment when she and she a shared sexuality,’ 2009 http://www.aaa-a.org/programs/presentation-by-rina-banerjee/

“Yes, and I think it is really important for me to share the storm of the world – when you can’t really ‘know’ any place, all the while being bombarded by everything that is out there. There is a sucking, pushing, throwing and falling in the process. It is both dangerous and exciting that I definitely like to bring to my work.”http://www.aaa-a.org/programs/presentation-by-rina-banerjee/

Three dimensional compositions come with harmonizing around the diagonal axis of contrasting colors and materials. Ropes, feathers, lightbulbs, tusks, synthetics, dolls, toys convene and stare at us and not for no apparent reason. This is the material world humans have created to satisfy our never-ending needs of pleasure and survival. And, this is ART. The artificial and the natural. We aren’t looking at these materials from the context they come from, our minds have already understood those implied associations. She offers another ‘whole’ fairytale world, a kind of myth-making about our current predicament of living on this planet.

“Difference must leave its cave and cease to be monster, not a level thorny and pointed pierce to emasculate the persistence of powerful middle -fat and feathery finds fault with it neck, arm and ankle” 2013, 2 x 3 x 1.3' Media: feather fans ,light bulbs, glass tiger’s eye, feather trim, steel, plastic basket, glass beads, thread, ruffle trim, acrylic horm, ceramic horn http://rinabanerjee.com/artwork/3572277_Difference_must_leave_its_cave_and.html

“Difference must leave its cave and cease to be monster, not a level thorny and pointed pierce to emasculate the persistence of powerful middle -fat and feathery finds fault with it neck, arm and ankle” 2013, 2 x 3 x 1.3′ Media: feather fans ,light bulbs, glass tiger’s eye, feather trim, steel, plastic basket, glass beads, thread, ruffle trim, acrylic horm, ceramic horn http://rinabanerjee.com/artwork/3572277_Difference_must_leave_its_cave_and.html

 I love knowing the Taj Mahal is white marble and pure in India and must remain so forever, but for some reason sensing it in cherry red hits the inferno of desire, temptation and abandonment.
Take me, take me, take me to the Palace of Love, 2003, http://www.hosfeltgallery.com/index.php?p=artists&a=Rina%20Banerje

Take me, take me, take me to the Palace of Love, 2003, http://www.hosfeltgallery.com/index.php?p=artists&a=Rina%20Banerje

Often her figures and assemblage sculptures have eyes and perhaps a face and I think this is important. To a Minimalist in the history of art https://www.google.com/search?client=safari&rls=en&q=minimalism&ie=UTF-8&oe=UTF-8 it is overkill but its effect reminds us that perhaps there is an inseparable animating force both terrifying and nurturing that migrates in materials, nature and human life. A force that reflects our inner world, a force to be sensed and perceived along with a larger all encompassing impersonal perspective. The eyes are nuanced with character, a friendly reminder of ourselves.

Lotions and potions like rivers where in quick motion, as well as essential oils and culture’s notions, where  these cultures would once be locked in harbor or empires court now took ride on the global, opened themselves up to mysterious and foreign incantations (2010), mixed media. Courtesy Galerie Nathalie Obadia Paris/Brussels.

With the work of Rina Banerjee there are no exceptions, nothing is excluded between the awkward and hip, mad and gay, strange and status quo, low-fi and luxurious, etc discerning a place for ourselves is perhaps the journey.

Rina Banerjee. She was now in western style dress covered in part of Empires’ ruffle and red dress, had a foreign and peculiar race, a Ganesha who had lost her head, was thrown across sea until herself shipwrecked. A native of Bangladesh lost foot to root in Videsh, followed her mother full stop on forehead, trapped tongue of horn and grew ram-like under stress, 2011; cowrie shells, rooster feather, gourds, acrylic horns, ceramic balls, plastic netting, amber glass vials, violet glass bulbs, false glass doe eyeballs, silk and synthetic Lanvin ruffled red dress; 73 x 65 in. dia. (185.4 x 165.1 cm). Copyright Rina Banerjee. Image courtesy of L.A. Louver, Venice, CA.

I like to think that the purpose of art is no different than an invitation to an exquisite ball, rise to the occasion and mingle in the fantasy. You never know who you will run into. Dark or light that is super-natural.