In the way warmth rises from a length, displacing objects from buy, the paintings of Ben Quinn and Robert Falco perform like the moiré of a screen— revealing that vision itself exceeds our potential to capture it. The functions in Fever Dream collapse the religious realm involving practical experience, sensation, and observation and grasp at the circumstances of the present— an awareness economy created on visuals and multitasking.
Occupying quite a few worlds at after, Falco’s entropic diptychs bloom and deteriorate concurrently, selectively revealing and concealing on their own like a vespertine flower.
With a prismatic palette, Quinn considers the star as vital device of measurement — of both atomic and cosmological proportions, a indicates of calculating the unquantifiable. Hues reverberate, presenting each an entrance and an exit, inviting us to look in as opposed to at.
There is a reverence for the mundane that materializes in the artists’ resource imagery: electronic detritus mined from their personalized photographic archives. With sleight of hand each individual artist obfuscates this accumulated visual excessive and can make it some thing deserving of veneration — iconographic.
While Falco’s painting pulse with the urgent needs put on the brain and system by our undulating, networked economic system, Quinn’s do the job delivers a put for the body to rest when the mind is on mute— sharing in the wish to imbue which means wherever which means has been emptied. —Ariella Robinson
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