Liz Craft at Centre d'édition contemporaine, Geneva

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Craft's investment in our emoji-ification - the way we relinquish representation/communication to symbols and mannequins. Yellow orbs to replace us, pareidolialy, trash compose face. It's easy and we're good at it. That we identify with the dead eyes of Ms. Pac-man. That speech bubbles can shrink wrap anything. The frame explain its function, even when there is none, it comes flooding, like a painting. We will always see something in them, singing signing. 

Liz Craft at Real Fine Arts, Liz Craft at Jenny’s

Liz Craft at Real Fine Arts

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We could wish our communicado could find space for ethereal content, walls to text become brick to evoke a feeling rather than language, emoji mise-en-scene. The emoji took off by passing meaning's creation to the viewer/listener with interpretative glyph.  and Against interpretation was this erotics of the communal, a seance of meaning between two people joined. The nostalgia inherent in this, against communication's hyper-ecstasy and towards more primitive mode of communication still accepts the digital as a lot like witchcraft, or, like, any sufficiently advanced technology is indistinguishable from it, and you get it packaged in a nice little pottery object, sent like primitive messages.


See too: Liz Craft at Jenny’s

Liz Craft at Jenny’s

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Drawing from work outsider, Craft’s staunch insider position in the LA scene while catering to the capital A inside (beginning to latch onto Germanic franchises) - are satellite to it, built from grass roots effort of garage startups and frontier ranches. That like the sculptures which exude a slight too-much-presence of desert psychedelia and weirdo jest for the tastefulness of the contemporary circuit they now enter, Craft’s haphazard theatricality is generally at least her own.