Caitlin Keogh at Overduin & Co.

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What can a tornado mean? How does it speak, catapulting whole neighborhoods into the air. A house blown up, again. How many times can you explode the house, the archive, mailbox, fenceposts, Greg, displayed, waving though the air, help. They continue beyond the frame! What can a Tornado mean by this? This is the fallout of Rachel Harrison semiotic explosion. The settling dust of nonsense. This is meaning aloft, in midair, the detritus of whatever art recently smart bombed. The airline wreckage cataloging its hangar. The little stick and poke tattoos glistening on your body. This face of Post Malone. A pox, outward flush of signs. He's got a case of the semiotics. He's got a pox of the interpretability. The illustration is clear.. but the meaning, whoa, wait till you get a load of the meaning. It's everywhere. The point is to make it look like a Clue board, to make the game is meaning. The loser is the first person to say "pipe."

Caitlin Keogh at Overduin & Co.

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Clue board games. Painting converted to iOS, and graphical icons to redistribute sense. Building interfaces for interpretation that is abyssal, sinking. Art seems doomed to be particularly suggestive tarot cards. 

Caitlin Keogh at Bortolami

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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 Meert, Emily Mae Smith at Rodolphe Janssen, Orion 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,

“Splendor Solis” at The Approach

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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 been done in "post," after, do things to a moment after it has taken place.