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The biographic trifecta Cooper, Yale, Skowhegan, the art heavily fortified, Soylent formulas, "understand that it is the body that controls the mind, the invisible world within the visible."
This "thing power" of objects. As the flower adapting with the bee, the pepper to the bird's digestion, the plump cherry to human tastes, object/products live and die on their adaptations to manipulate the consumer. Our environments manipulating and manipulated. Capitalist ecology presents a survival of the seductivest, reproduction as commodification, as generations and generations of objects live, thrive, die and evolve in the natural selection for products. Without sentience orchid petals become fleshy. The evolution towards sensual ergonomics, Lupo's objects flaunt their lure, fleshy chairs coated in smooth nutrition, nutrition as flesh, the seat for children, dazzled with food stuffs - plastic flesh of Ray's "Family Romance,"- flesh of the uncanny abject, the bodied object plating their sushi desire. Uncannily neither sexy nor comedic. Objects designed for the human. Not Hesse, but Gober's vessels for psychology, they become primordial life, objects exerting influence and reacting to us, unblinking.
See too : Olga Balema and Anne de Vries at Michael Thibault, "Flat Neighbors" at Rachel Uffner, Michael E. Smith at Lulu, Anicka Yi at Cleveland Museum of Art, Pamela Rosenkranz at Karma International
