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 Kunsthall Stavanger

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What is clear is that rendering's look itself has come to represent and stand in for our imaginative space and potential. The wet image absorbed the qualities of virtual space, the sheen of the digitally plastic denoting its manipulability. You see it in the ipad lushness of Orion Martin, the nervous sweat of Atkin's avatar's forehead, the gloss of Wolfson's images dirtied, the cartoon liquidity of Juliano-Villani, the paintings of Koons. Used to stress position the subject/object delineation. The importance of iconographies for many of these people is evidence of our growing identification with icons as subjects themselves come to represent us and open to torture.


See too: Sascha Braunig at Rodolphe Janssen, “Puddle, pothole, portal” at Sculpture Center, Erwin Wurm at Kunstmuseum Wolfsburg

Sascha Braunig at Rodolphe Janssen

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Mixing op's visual concrete against trompe l'oeil's illusory tricks, the two ends of representation, could make a eyerolling mix but within its surrealism - the "smooth" conditions of clean eroticized bodies - its "affectual package" - like Dan vaan Golden-  having a lot to do with advertising's cybernetic affect this 4th wall smudging version.

Sascha Braunig at Foxy Production

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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