Strips…, Aydin Hayri, 2014, paper, acrylic, string, found objects on wood panels, 30″ x 36″
On 3 old shelves, I started an aesthetic assault of applying layers of paper, tape, paint and varnish. For me different strips laid side by side is a reflection of our malleability. Even with no ill-intend, we ask ourselves to recount or describe the same event, we will come up with different versions of the facts. While this may bother some folks but, for me, it is yet another indication of the futility of chasing universal truths and absolutes, every strip ends up being different, although we start with the same intentions.
The board on the left has the inscription “
he can see the world clearly because he was excluded from its rites and passages,” a sentence composed by Hilton Als in his review of a Shakespeare play, linking the piece to “seeing.” But what do we exactly see when we look at the Egyptian hieroglyphs embedded in the healing wound that runs through the middle of the middle board? What they represent would be different to us than the ancient Egyptians, I would imagine. The board on the right has two rows of “Plus-Plus,” little plastic pieces shaped as double plus signs (hence the name), an anti-Lego French toy, our ability to make and remake things.
$200 per panel
Strips…, Aydin Hayri, 2014, paper, acrylic, string, found objects on wood panels, 30″ x 36″
On 3 old shelves, I started an aesthetic assault of applying layers of paper, tape, paint and varnish. For me different strips laid side by side is a reflection of our malleability. Even with no ill-intend, we ask ourselves to recount or describe the same event, we will come up with different versions of the facts. While this may bother some folks but, for me, it is yet another indication of the futility of chasing universal truths and absolutes, every strip ends up being different, although we start with the same intentions.
The board on the left has the inscription “he can see the world clearly because he was excluded from its rites and passages,” a sentence composed by Hilton Als in his review of a Shakespeare play, linking the piece to “seeing.” But what do we exactly see when we look at the Egyptian hieroglyphs embedded in the healing wound that runs through the middle of the middle board? What they represent would be different to us than the ancient Egyptians, I would imagine. The board on the right has two rows of “Plus-Plus,” little plastic pieces shaped as double plus signs (hence the name), an anti-Lego French toy, our ability to make and remake things.
$200 per panel