photo credit: Isabelle Arthuis

A SETTING, TABLEAU - NO. 1
(installation view, right: Rafaella Crispino)
photo credit: Laure Cottin Stefanelli 

(installation view, right: Rafaella Crispino)
photo credit: Laure Cottin Stefanelli 

photo credit: Laure Cottin Stefanelli 

photo credit: Laure Cottin Stefanelli 




A SETTING, TABLEAU - NO. 2 (two of three panels) with HOMAGE TO LE SOL
(installation view, right: Rafaella Crispino)
photo credit: Diana Tamane (above)






DETAIL, NO. 1

DETAIL, NO. 2

DETAIL, NO. 3





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A SETTING, TABLEAU

2015

SANDPAINTING AS SCULPTURE, PLANTS

A setting, a tableau of animation and re-animation. The plants, vases, and lamps become flat; a colored light pushes through and flattens them, eliminating the fore-, mid-, and background; an elimination of hierarchy.  

Resistance of the status quo through desire: resistance through desire, in the act of creating beauty.  

What is the relevance of art?  What is the value of art and object-making when there is suffering: diaspora, homelessness, starvation, mental illness, physical assault on the streets (as police drive by)?

...to make art full-heartedly as a means to invent and defend a space, for these and other questions to be posed. How does one maintain this space for such questions to be repeated and defended?    

Power of example: South Central guerilla farmer, Ron Finley, creates an anamorphosis of two spaces: the public area - where no one saw the potential of soil along the sidewalk curb - and his created space via transgression within farming arable land for the creation of food, community, and education in his neighborhood. The city of L.A. tried to punish Finley with fines for his farming, for his act of transgression, which previous to this case, no such situation existed. Therefore, penalties could not be levied. The system therefore had to adapt to norms which the citizens created.