Penny Goring at Campoli Presti

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The ubiquitous tarot design by Pamela Colman Smith is proof that clear design is still ambiguous, interpretable. Even without painterly mystery. The icons of an iPad grid are a mystic pool. Saturday morning cartoons seers to a future; Lisa Frank a biblical text. The dolls of childhood show stigmata. The difference seems to be what lacks or has systems of interpretations.


See too: Diamond Stingily at Freedman Fitzpatrick, “Sylvanian Families Biennial 2017” at XYZ collective

Sarah Charlesworth at Campoli Presti

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Not being able to see the object inferred, the faintness and its soft faded form, leaving it where sight doesn't quite apprehend it, indefinite states where even though we barely see the thing we still think we know it. Charlesworth's excision of variables from photography leaves portions of its experience as it. Here we don't really see anything, but still see. Dropping the context from objects so we are left with ourselves reflected in them, nobody to hold your hand through it.  The coldness of such a practice might seem to border cruel.

See too: Sarah Charlesworth at New Museum