Desiree Holman, Kent Manske, Geof Oppenheimer,
Ricardo Rivera & Schechter / Schimizu
unfortunate, flat and static prison. They wait for someone to tell their story."
Kent Manske's accordion book, entitled 2001, exemplifies the artist's innovative integration of traditional and digital printmaking to create emotionally and intellectually introspective work. Comprised of juxtaposed pictographic images of everyday existence, the visual associations communicate as distinct messages and at other times as enigmatic narratives. Manske's symbol system developed in 2001 and throughout his oeuvre seemingly enshrouds the author's personal experiences with myth and mark.
In Geof Oppenheimer's project, duplicate photographic images of the artist's gnarled pinky toe
hang side by side, differing only in title and depth of focus; one photograph with sharp, deep focus is entitled The Ugliest Part of my Body, the other with blurry--or fuzzy-- focus is entitled The Fuzziest Part of My Body. Upon reflection, the viewer understands that the judgement of whether the image is 'ugly' or 'fuzzy' lies in the perspective of the beholder. Oppenheimer's piece, then, inverts the familiar adage about beauty and subjectivity: "Ugliness and Fuzziness lies in the eye of the beholder."
In his installation featured at Pond and throughout his oeuvre, Ricardo Rivera's work employs technologies of optical illusion (camera obscura, anamorphic projection) that call attention to the subjective faculties of visual perception. Through tricks of the eye,
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