In the way warmth rises from a length, displacing objects from buy, the paintings of Ben Quinn and Robert Falco operate like the moiré of a screen— revealing that eyesight alone exceeds our capacity to seize it. The is effective in Fever Dream collapse the non secular realm between knowledge, feeling, and observation and grasp at the conditions of the present— an attention financial system constructed on pictures and multitasking.
Occupying lots of worlds at at the time, Falco’s entropic diptychs bloom and deteriorate at the same time, selectively revealing and concealing on their own like a vespertine flower.
With a prismatic palette, Quinn considers the star as necessary unit of measurement — of both atomic and cosmological proportions, a suggests of calculating the unquantifiable. Shades reverberate, presenting equally an entrance and an exit, inviting us to look in as opposed to at.
There is a reverence for the mundane that materializes in the artists’ source imagery: electronic detritus mined from their personal photographic archives. With sleight of hand every single artist obfuscates this accrued visual excess and makes it anything deserving of veneration — iconographic.
While Falco’s painting pulse with the urgent calls for positioned on the brain and entire body by our undulating, networked financial state, Quinn’s function provides a put for the overall body to relaxation whilst the brain is on mute— sharing in the desire to imbue that means where that means has been emptied. —Ariella Robinson