Thursday, February 6, 2020

Caitlin Keogh at Bortolami


Illustration is meant to bring clarity, to denote, delineate, resolve. So when it draws surrealism there's a tension in the elegant lines not necessarily clarifying.* But what is important is that we feel something is being told, explained. Like if John Wesley designed Tarot cards, pearls for pentacles or whatever. The Tarot illustration provides its own oracle, meaning. I guess the illusionary orbs also serve to retension the flatness, "the roughly two inches of depth" that had become its own trend, "the depth of iPad" "Its less the digitalization of painting than its conversion to iOS. Then made surreal." Said before.
Clarity and "recognition is a visual strategy used by the advertorial (logo) or systems (icons) that has reached saturation with touchscreens, GUIs, facebook forums. Our brains, wired for recognition, are berated with this, icons forcing recognition of themselves. [Clarity and recognition become their own force, violence.] Painters begin adopting this as their history, the Magrittean version of objects as linguistic symbols. These paintings delay the force of recognition as a palliative, lessening the slap of apprehension by averting it."

*A similar tension when its clarity must wrest with the delicate complexity of a rose. The conversion of complexity to something digitally clear.

See too: Anne Neukamp at Greta MeertEmily Mae Smith at Rodolphe JanssenOrion Martin at Bodega Ray Yoshida at David Nolan, Sascha Braunig at Kunsthall Stavanger, Alice Tippit at Night Club, Lui Shtini at Kate Werble, Sascha Braunig at Rodolphe Janssen, Mathew Cerletty at Office Baroque,