The series evolved collaboratively pursuing the rare act of painting together, two independent entities sharing one canvas. From intuitive sketches, collages were born and from these eclectic collages full blown, technicolored paintings of what we so far called pseudo-realism.
In contemporary context it is very hard to justify the value of paintings as a carrier of any innovative or significant meaning. Frowned upon by conceptuals, asking: Why not use another medium to communicate the idea? That is the point that actually concerns us. Classic academic art may be downed as crafty, easy, awe-inducing, beautiful, yet interestingly enough it still proves very sought after. As always the public moves slower than the artists themselves and so does the whole orchestratorial gremium of the art market. Actually the whole series started out as a playful joke we played on our talents and Veru’s years of classical painting training, as well as our subtle insider jest on this very art world we try to survive in. The self-engaged art world, outside of the safe-space of the art institution promising greener pastures to its students within the unpriceable, and precarious realms of digital and performance art, still seems to be clinging to the idea of the holy object.
After questioning our own behaviours, resisting the joys and disappointments of traditional media, enduring the rolling eyes in critiques as well as, gentle remarks toward moving on toward a more reflective approach, maybe against better judgement, yet consciously, we decided to look for a new path toward justifying our “crafty” urges through a new series of conceptual collaborative pieces, which will play a part in our next show in motion; Celebration of Decoration (TMC.ALL RIGHTS RESERVED.).
Slipping into a role of sophisticated interior designers we started out by shamelessly decorating our flat. We decided to follow our carnal intuition and embrace the unembraceable, the afore called blatancy of creating objects of beauty and desire. The paintings show all characters cynically squished together, with a happily discontenting aura of horror vacui. Colorful, richly contrasting, vibrantly screaming and grinning assemblages of socio-critical personas seem undisturbed by the peculiarities taking place around them and how not only their surrounding forms them, but, as well, how they form what surrounds them. They reflect darker sides of contemporary culture back to the viewer in a humorous manner, a way to confront the viewer without alienating them. As in our motto: Humour is a gun. The series is supposed to turn into a constantly growing cycle of stories. Most of these paintings will evolve into Diptichons/Triptichons etc., because that’s what serious painters do. WINK WINK. MORE TO BE ANNOUNCED.