Sunday, September 30, 2018

“Splendor Solis” at The Approach


(link)

There's a sort of funny documentation choice, Bosmans' paintings in one photo are in the next photoshop erased to leave the wall behind them, the light doesn't change. It's a small decision mildly touching on the artificiality of our cartoon conditions, reality able to be distressed, bent, stretched. The slow feeling of vertigo and stretch, a malleability we all permanently live under and probably why cartoons blitz across art as the world begins to feel more like them, and we look for things representative of it. Even if the paintings were actually physically moved, it would have taken less time to have be in done what they call "post," after, do things to a moment after it has taken place.