![]() ![]() Between 20 the large housing estate, which was home to more than 3,000 individuals, was demolished to make way for luxury housing. Yoland addresses the destruction of the Heygate Estate in Elephant and Castle, London. The works are rendered in Butt’s signature style, inspired by the Mughal miniaturist practice and reminiscent of pointillism. Butt is interested in how individuals present themselves and how they are resultantly perceived. All three subjects directly confront the viewer. The third man, also living in London, has adopted the current popular hyper-masculine fashion of growing a beard. In contrast, the second image is of a young man living in London who cross-dresses at night and subverts his gender presentation. The image exemplifies the representation of Middle Eastern masculinity in the media. The source image for the Afghani man is pulled from the Internet. These individuals-two from her trendy neighborhood in London and one from Afghanistan-have ambiguous origin, highlighting the relationship between aesthetics, prejudice, and identity. The artist is addressing the systematic social and political oppression of the people of Iran-unearthing corruption and violence permeating the current regime.įaiza Butt superimposes the eye-like patterns found on butterflies and months onto to the faces of three men who each present different versions of masculinity. The colors themselves are taken from the national flag of Iran. The patterns Forouhar adopts are taken from Iranian fabric used in Shiite mourning rituals on the day of Ashura. ![]() Obscured in these works, anonymous figures interlock and are, at times, bound. In Red Is My Name, Green Is My Name I I, the activist/artist responds to the social and political situations in her home country of Iran. Parastou Forouhar similarly employs elaborate patterning, using it to hide violent acts. Often presented as wallpaper that envelops entire rooms, these works highlight how as a public we are engulfed by vitriol from anonymous sources. The work appears as if chat room banter has reorganized itself into lush floral designs. Prevalent Internet vulgarities are interlaced with mundane descriptors in both English and Chinese to form elaborate patterns. The work, titled El Buró Fantasma, functions to question the veracity of accepted, reputable sources.Īrtist Tsang Kin-Wah also uses language, but to a very different end, merging text with decorative patterning reminiscent of English textile designer William Morris. These stories focus on a deep exploration of Chilean literature and politics and even make claims of Amorales’s ability to be in two locations at once. ![]() Adopting a highly didactic voice and publication’s style of writing and structure, they have managed to get seven articles published. Under a moniker, and presenting themselves as a reputable news source, Amorales and Hernandez have been able to get these articles printed in a popular Mexican newspaper. Over the past few years Carlos Amorales and collaborator Edgar Alejandro Hernandez have penned spurious news stories. Yoland each ask the viewer to take a second look at their quotidian surroundings. Ranging from the use of language to ornamental patterning, the artists Carlos Amorales, Faiza Butt, Parastou Forouhar, Tsang Kinwah, and K. Content is hidden in the banal, exploring how deeper investment can lead to greater understanding. They co-opt diverse languages in order to share subversive information. In the works-on-paper exhibition Hiding in Plain Sight, five artists use the technique of camouflage to obscure a message. This technique has been adapted by military contexts and, in turn, become a loaded symbol. In nature, detailed markings enable animals to appear as either predators or alternatively blend into their surroundings. Hiding in Plain Sight draws inspiration from the technique of camouflage, used by animals to escape perception. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |