my sister really, really hates when Christmas presents take too long to unwrap
- so today after I bought her a gift card for her and her husband to her favorite restaurant, I wrapped the box it came in
- put it in another box stuffed with tissue paper
- wrapped that box
- put that box in a bigger box
- taped that box shut
- wrapped the big box
- wrapped it again in tissue paper
- put it in a bag filled with tissue paper
- and put a bow on it
- merry Christmas, I’m an asshole :)
I’m so doing this
I was thinking of you wrapping Kuzco
museemagazine on Ian Davenport Colorfall
Colorfall is Ian Davenport’s latest exhibition at Paul Kasmin Gallery, a cavalcade of hues that is quite refreshing. Davenport uses a syringe to “drip acrylic paint onto aluminum and stainless steel panels,” which allows gravity to create perfectly straight lines of color that end in brilliant explosions of heterogeneity.1Perhaps it is nature’s integral role in the outcome of these paintings that imbues each piece with a level of comfort and familiarity; or, better yet, that these paintings are a beautiful product of nature and man, a union that has always been fraught with turmoil. In any event, Colorfall establishes itself as a reflection of the mind, and humankind’s relationship to the world.
Cobalt, Vermillion, Cobalt (as seen above) is emblematic of the exhibit at large: neat rows of variegated colors cascade inevitably down the steel panel, until they hit an invisible wall and envelope each other, a breakdown into chaos. At the very top of the painting, you can see tiny spaces in between the columns of color, which give away the work’s solid, piercing blue background. Each piece had this same basic format. However, a different background color was used for each painting, accompanied by a unique, hue-informed vibe; regardless of the myriad colors utilized, every work had its own presence, a phenomenon I believe was directly correlated to these disparate background colors.
Colorfall is a mirror for the human mind. Despite the prismatic assortment of colors, I still had the tendency to look for a pattern, some sort of repeating sequence that would “unlock” each piece’s meaning. Humankind has always strained to understand its physical surroundings, and in this endeavor, it has attempted to make order out of chaos. Davenport has not only captured this propensity for structure, but used it against the mind of the spectator.
As I stared intently at a piece called, Cutout, I discovered a curious side effect of Davenport’s paintings: the images, like optical illusions, burn themselves into your mind, transforming the surrounding white walls into canvases of their own (these secondary phenomena appear to be the negatives of their originals). Colorfalltherefore, is assured a lasting impression in viewers’ minds. Again, I believe these paintings are so relatable, because they appeal to a human need for expression itself. These strict, colorful lines, while providing three-dimensional depth to each piece, inevitably end in an eruptive release of some kind of frustrated energy. The will of separate individuals becoming the action of the collective.
There were two paintings in this exhibit that contradicted the rest. One of them (shown below) wasIdanthrone, a painting that gave the impression of an upward climb, as opposed to a downward progression. Within Idanthrone lay a solemnity, a stark religious tone intensified by a darker background. In juxtaposition with say, Cutout or Cobalt, Vermillion, Cobalt, you can see just how powerful Davenport’s technique really is; the alternation of colors has, and always will be the messenger of meaning.
gamzee headcanon: the reason we only ever see one gamzee (and no dead gamzees) in the dream bubbles is because alpha timeline gamzee has devoured all the others and they are crammed inside of his transdimensional stomach like a cannibal clown car
ALRIGHT GUYS A COMPANY I USED TO WORK FOR IS GOING PUBLIC AND ALL YOU FUCKERS WILL LOVE WHAT IT DOES
LET’S SAY YOU WANT TO GIVE YOUR SWEET FRIENDS SOMETHING EQUALLY FUCKING SWEET FOR THE HOLIDAYS. BUT THEY’RE SHY ABOUT GIVING OUT THEIR ADDRESS BECAUSE, MAN, THE INTERNET IS DAMN SCARY…