VIEW IN MY ROOM
United States
Painting, Acrylic on Other
Size: 77 W x 48 H x 0.5 D in
Most of the Baudrillard series works are painted on nontraditional material surfaces such as hardboard, MDF, sanded ply, & gypsum & cement board. They also were divided using the golden ratio often, making such a large picture plane easier to size up compositionally. This one is gypsum board cut to form a golden rectangle, & the swirling that can be seen is the helical orbital motion everywhere found in Fibonacci's poetry. Here there's an obvious tidality, but the strokes & tools create more of a murmuratuon, hatching wld-be monarchs that are, after all, A.i. drones with pornographic weapons systems, cameras, lasers, which is the end of all metamorphosis—no longer is the grotesquerie of leaving the husk of a former body alien even to the organism or observer, now the incinerated victims are the rse materials for the real-time production of their data, their corpses accounted for in the computer systems but, in ultimate savagery, denied anything resembling burial.
Painting:Acrylic on Other
Original:One-of-a-kind Artwork
Size:77 W x 48 H x 0.5 D in
Frame:Not Framed
Ready to Hang:No
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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United States
Hello. I'm Leo Wyatt. I'm a poet & a painter. I've worked in retail, construction, grocery, & most recently, taught rhetoric at the University of Iowa. I'm trying to make works that take the top of your head off , that drive a burning sabre through a frozen heart . They are disturbed & made by wave sound by atmosphere & rarely approach a response that cld be called musical. If they are felt as such, that's more than one cld hope for. Many technics here are borrowed from construction & labor trades—I fabricate the backing support & frames, & paint on sanded plywood, hardboard or MDF, gypsum or sheet rock, cement board, & canvas. I use joint compound, caulk, gel, acrylic emulsions, alcohol & paint markers, charcoal & graphite, wax pens, spray paint, vinyl adhesives, wallpaper, fabric, computer components, tar, oil pastels, & oil paints. I use joint knives, putty knives, silicone tools, brushes, bottles, squeegee-like implements, palette knives, bristled objects, & more brushes. Because I lack technical & formal skills, the works suffer from both an historical myopia, an ignorance of the contemporary global art market, an absence of art world networks, & primarily from conceptual & technical planning & execution. This is an ongoing process, tho I'm wary of anything that stinks of re-education. I want the paintings to f{x} as offerings. I want the paintings to impossibly transfer their kinetics & molecularities unto the viewer, making possible, from their frozen crypt, a heightened attention & quietude in a viewer. Often the overproduction in them threatens the viewer with implosion, but the paintings are ferocious in their idiocy & dumb in their serious implacable desire to find the other, as maybe a postcard from posthumous source. The work, both the poems & the paintings, suffer from this romantic urge, from this leukemia of communication. They are unsystematic primitive waste excess their logorrhea is Whitmanian & Millerian. They are made from the bowels of hyperreality & by the remnants of the social once processed by capital, which is me.
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