Mywork addresses three particular conditions of contemporary life: theabundance of simulacra, finely wrought illusions that encroach onreality without our knowing; our contemporary economic values whichhave shifted their emphasis from production to information andservice; and our relationship to modernism, our predecessoresthetically and culturally. “Monumental” work is uniquelysuited to this type of investigation as monuments are primarilylocations where members of a society go to be informed about theworld in which they live and their place within it. Exploring thesethree conditions of contemporary times is the primary goal of all mywork.
Todo this I use a combination of faux painting and constructiontechniques. This faux finishing, and the framed walls that supportit, is central to the conditions I wish to explore, and hasmetaphorical significance related to all of them. Like simulacra,faux is an illusionistic simulation of reality that can be finelycontrolled to influence the perceptions of its viewers. When viewedfrom the other side, however, it is seen to be literally“constructed.” faux is also traditionally a commodified service,sold to the wealthy as an augmentation of their homes or otherarchitectural structures, but it faces competition from new massproduced and digital reproduction solutions. Finally, faux, and thestyles of building with which it is associated, are not seen ascompatible with the “machine for living” philosophy of modernistarchitecture and design. However, the ostentatious displays madepossible through the use of faux remain popular and may in fact begaining in popularity. These metaphors have important meaning forthe way Americans seem to want to live, and also for artists creatingwork in the contemporary moment.
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