暴力美学，“二进制”访谈
暴力美学，“二进制”访谈
Violence aesthetics, "binary" interview
There are elements in this work that I can trace though I am no investigator of painting at large. They are people reduced to shape, huddled masses, a incomplete agoraphobia from a position of solitude not unlike a wary eye cast from the unholiest of mountains. There is Man Ray’s “The Enigma of Isadore Ducasse”, a sewing machine bound under cloth so perfectly that the crime scene is indiscernible outside that of a Peugeot trunk.
There is a distance in these images. They are abstract for sure, the palette reminiscent of what I might expect to find at the bottom of the picture plain in Rembrandt’s “Abattoir”. I might see the lumps of fat, lipid lymphomal glandular processing remnants slithering off the base of the frame if I were not careful to step away. There is a convulsion within. The right side of my brain inaugurates into the cage of exfoliation and I feel the constant grating on its surface will muster up a new vision. It will dust off the paradigm of recognition I once had under the slavery of a fire that St. Elmo could not produce for Andy Warhol. Its seethes, it does indeed despise.
“There is Man Ray’s “The Enigma of Isadore Ducasse”, a sewing machine bound under cloth so perfectly that the crime scene is indiscernible outside that of a Peugeot trunk”