Glass Case of Emotion as an exhibition began as a prompt to a grouping of artists spanning the US from coast to coast–choose one recent work, photograph it and place that image on another image of the artist’s choosing, be that a familiar landscape or an unknown image taken from the web, the only criteria being that it resonate and speak some truth to the artist. We see it outside ourselves, and at the same time we only have a representation of it in ourselves”, a reality that has seemingly become all too true as our bodily and virtual realities become layered one over another.
As Magritte suggests in a letter to a friend, “This is how we see the world. Magritte’s works such as The Human Condition (1933), The Palace of Memories (1939) and The Fair Captive (1947), all landscape paintings that feature a layering of sceneries, a painting on an easel that both obstructs the landscape behind it and acts as a continuation of that same landscape or a barren topography framed by luscious theater drapes. The Large Glass or The Bride Stripped Bare by Her Bachelors, Even, Duchamp’s work completed between 19, consists of large panes of glass that have been altered with a variety of untraditional materials depicting separated domains, the lower portion showing abstracted figures or “bachelors” flanked by odd representations of machinery all directing their attentions to the “bride” floating in a section above these disconnected souls below, veins of broken glass incurred in a shipping accident and other alterations to the surface all heightening the cacophonous and absurdly irrational scene. A few touch points from nearly a century ago come to mind, whether it be Duchamp’s realms of abstracted figures and desire housed within The Large Glass or the meta commentary woven through Magritte’s surrealist compositions. Perhaps we must first look at the art historical underpinnings of the moment, works that provide some context to our stuckness within this glass box and to our multiple realities that live within and outside of it. Given our predicament how then do we work within the constraints in which we’ve found ourselves, how do we create art, forms and spaces for viewing that are accessible and relevant to this unending echo chamber in which we find ourselves? In an idealistic sense, art and its enjoyment has always represented a kind of freedom, even if it only be in an imaginative way, yet is that reality even possible at a time in which we are all stuck in a sense, for our own safety sacrificing so many freedoms that were once simply given? Much like Ron Burgundy bemoans, stuck in a phone booth in the 2004 classic Anchorman, we are all essentially stuck in a glass case of emotion. Our professional, social and leisurely impulses and obligations all pass through thin pieces of glass into machinery and networks far more complex than most of us can comprehend.
Glass case of emotion series#
I’m very interested in the writing of Carl Jung and the concept of the collective unconscious, the investigation of mythology and archetypal narrative throughout history, and the convergence of these with my own life, and now that of my children.Īmong a series of truths, the pandemic has made abundantly clear that so much of our lived days are mediated, experienced and augmented by the screens that create and insulate our realities. I’m interested in “fandom” in general and particularly pop culture material like the show that imparts archetypal myths / narratives that people intrinsically relate to. When I was boy I was obsessed with this show and would draw Ultraman all the time, and now as a father am experiencing it again through my son who has become obsessed with the character and makes drawings, his own masks, and collects the same toys that I did as a boy. chaos that are repeated throughout the series as well as the Kaiju monster sci-fi genre in general. I am interested both in my personal history and relationship to the show as a fan from childhood into adulthood, but also the metaphorical and psychological implications of the character's narrative, specifically the ideas of society vs. I use the iconic helmet as a jumping off point to create these compositions.
Glass case of emotion tv#
For the past two years my practice has focused on the iconic pop culture character Ultraman, and the many affiliated TV shows, movies, manga / comic books, toys, and other ephemera.
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