RAVING DISCO DOLLY ON A ROCK N’ ROLL TROLLEY
As in looking at a carpet, by following one color a certain pattern is suggested, by following another color, another; so in life the seer should watch that pattern among general things which his idiosyncrasy moves him to observe and describe that alone. - Thomas Hardy
Art is the only domain of the mind in which a man may say: I will believe if I want to, and if not, I shall not believe. - Baudelaire
What business have we with art at all unless all can share it? - William Morris
An art, which does not have emotion as its basis, is not an art. - Cézanne
In an effort to lighten up the cerebral, Raving Disco Dolly on A Rock 'n Roll Trolley is a celebration of the potential enlightenment of the politburo of art.
Pushing the concept of visual language forward, the exhibition explores the intuitive vs. the scientific and juxtaposes issues such as the digitalization of life, with the theory that it is better to understand an art work's message than to admire it for its own sake.
Addressing the often inexplicable process of material and visual decision making involved in creating art, an effort is made to introduce the academic to the playful (and vice versa). Formal devices such as size, spatial relationships and repetition, provide an exchange between the visible and the invisible, while fundamental questions about reification underscore the tension provoked by the variety of works on display.
Talking about the 'visual arts' without including performance, dance and film would be like talking about agriculture minus grain and vegetable crops. Throughout the exhibition these fields are brought together by exploring the migration of one realm of meaning into another.
Each in their own way, the works in Raving Disco Dolly on A Rock 'n Roll Trolley participate in the confrontation and exploration of a discursive structure. As a group, they form a continuum that challenges the dominance of discourse over visual and sensory properties in both artistic production and exhibition-making.