Srijon Chowdhury at Foxy Production

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Drip with meaning. Or glisten with it. The other one glows. That one prickles. Down there that one has firework flowers that burst with it. A moonglow to spotlight it. These are the painterly wreaths that halo meaning. Bestow objects a blessing. In a video game the object would hover and spin. In a novel, the detective would pull them from earth for a magnified look. The monolith us monkeys dance around, point at. They are the MacGuffin. The monolith only as meaningful as the plot/painting can ascribe it. The actual meaning is in this means to distribute meaning. 

See too: On the recurrence of symbolism, Gertrude Abercrombie at Karma, Gina Litherland at Corbett vs. Dempsey

“Portraits” at Foxy Production

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Strange no, that we adorn the world with pics of ourselves? Think of the prevalence of us in stock images, in advertising space, on the broad sides of buses, men and women smiling. And all the possible wishes that artists themselves hadn't given up this form so readily and instead deal with it. There is a lot of information embedded in our visages. A real psychotic kaleidoscope, ourselves.


See too: Peter Piller at Capitain Petzel

Sascha Braunig at P.S.1 & Foxy Production

(Foxy Production, P.S.1)

Plasticity. A smoothness we associate with Surrealism, Tanguy, Dali or whoever: liquidity representing conscious malleability, the subconscious, appearing like those renderings covering everything in digital plastic. Braunig's, while decidedly not digital, contain all the smoothing, goo and rubber and wireframes come to stand in for our bodies. You used to have to be a serial killer to sew a flesh suit, now it seems one represents you always, peel yourself, reveal your wireframe undergirding you. Braunig the painter of this sweat.


see too: Sascha Braunig at Kunsthall Stavanger, Sascha Braunig at Rodolphe Janssen, Sascha Braunig at Foxy Production

Sascha Braunig at Foxy Production

(link)

The extant donning of, or, given: the "optical" has always been a means of breaking the fourth wall, over a Bayrle down optical watersheds scrambling one's retinas, blinking at the construction's winking, acknowledging the readymade biology of a viewer's eye's. Which, like trompe-l'œil, scenes in expectation of the viewer, pre-preparing its gamesmanship's inscrutable subject illuminated in a gassy light. Neatly packaged within the peephole of painting, the work await, reflecting, a viewer's head.


See too : Matthew Cerletty at Office Baroque