On Richard Rawlins Gotcha at Alice Yard, Woodbrook, Port of Spain
Once more, art confronts us with the intersection of ideas.
Richard Rawlins' recent exhibition, Gotcha, raised questions over the place of modern practices of design within the traditional realm of art and painting, of politics and art and of installation work and non-traditional formats for creating design and for expression (specially designed lapel buttons are part of the work).
The work, recently shown at Alice Yard, comprised a series of politically-themed paintings (are any paintings not concerned with politics?) displayed in various spaces within the Woodbrook backyard space. The work used simple designs (are there such things?) which pushed quite close to iconography (the artist plans a series of limited edition prints to be sold at a later event in a few months time).
White elephants, dangling flies that become pianos, non-performing arts academies and lego politicians all suggest what we all know: the realm of politics is one big megee.
"The joke is on you. It always was," Tracey Hutchings remarks in a limited edition monograph published by Rawlins to accompany the show (sections of which are featured here). The joke, Hutchings notes, functions "politically, mentally, economically, and maybe even spiritually". This at once playful and dark, sincere and whimsical: a kind of therapy that focuses more on triggering dialogue (what part of life does not?)
SEE MORE at Richard Rawlin's blog here.
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