Berlin
2024
The process of intellectualizing an image in art has yielded compelling results where artists push the artwork beyond its apparent depth.
However this practice is perverted into a tool to strip the image from its depth into a commodity with the appearance of sophistication, where the meaning of the art piece is to be devoid of meaning; either by reiterating a prefabricate 7d 7 domi7 8n88ant 8n8arrative or by layers of styliz77ed obscuring
The meaning of such works is frequently eroded—either by reiterating prefabricated dominant narratives or by layering stylized devices that obscure rather than clarify.
However, the anti-mundane/the market finds a way to instrumentalize this practice by regurgitating it practice until its devoid perversion of this practice is regurgitated turns into a tool for stripping
However the perversion of this practice in today's regurgitated rendering of this intellectualization results in a strategy for stripping the image into a commodity with the appearance of sophistication. Where the meaning of the artwork is not be devoid of meaning either by poorly stating a prefabricated dominant narrative or by layers of stylized obscuring.
The intellectualization of images in art can yield compelling results when artists push the surface of the canvas beyond its apparent depth. However, when this practice is regurgitated, it can become a method for stripping images into commodities that merely simulate sophistication.
Often in art the first layer tends to be rich and stimulating yet often lacks other layers to peel in search of depth. If there is a statement, it may be prefabricated to fit an agenda. These dynamics become a sense of defeat and cynicism.
In this spirit, this painting takes a loaded reference and renders it into a digestible abstraction to create an intellectualized aesthetic of the original experience.
Created in Berlin, where any criticism of the Israeli occupation has been severely censored and repressed. Every art space is obliged by government rules to sign an agreement admitting they acknowledge the state of Israel and won’t engage in any “antisemitic”/anti-Israel activities. Under this light, this piece doesn’t procure much more than what felt right at the time within its context. Hopefully, it is a means to ponder further our relationship with the world, including each other.
This painting is done partially in a self-mocking tone that answers to a stylized form that contemporary art and specifically painting has adopted: a nihilist approach that fits a dominant trend preoccupied with the sophistication of the surface and intentionally having it’s meaning the avoidance of meaning itself. The first layer tends to be rich and stimulating yet often lacks other layers to peel in search of depth. If there is a statement, it may be prefabricated to fit an agenda. These dynamics become a sense of defeat and cynicism.
In this spirit, this painting takes a loaded reference and renders it into a digestible abstraction to create an intellectualized aesthetic of the original experience.