Capriccio, (parentheses), with Hannah Kim Varamini, ArtCenter DTLA, 2021
Capriccio, is partially-visible in the two-person exhibition, (parentheses), as you peek above the walls and walk past the facade of ArtCenter DTLA. Capriccio is a simultaneously empty and overflowing field; using the the interior surfaces of columns and walls as painting surface in combination with a series of tiny frames atop those columns to nest images that are barely legible. A rotating trompe l’oeil color scheme adorns the central columns, while their (and other) column capitals are painted black, red, and green in a layout linked to American-style roulette. The images are similarly arranged according to this game of chance, and their numbers are linked to The Thirty-Six Dramatic Situations, a descriptive list written by Georges Polti in 1895, and subsequently used by a variety of writers and storytellers in order to structure narrative. The images themselves, however, are not aligned with the titles except by random selection.
Image content is comprised of personal iconography and archival material spanning text, photograph, drawing and painting. Elements include an enigmatic constellation of animals fighting, children’s drawings, floorplans and schematics, riddles, recursive references to other Love’s Remedies artists and projects, playful nods to artists both contemporary and historical, and, finally, the choice of BRD’s artistic work operating as ground in the figure-ground relationship both between her and Varamini within the physical site, as well as within the project of Love’s Remedies itself.
Eight painted columns: interior latex paint, matte
Five columns with inset painted frames: interior latex paint, matte
38 painted column capitals: interior latex paint, gloss
38 images nested in the column capitals: 27 7x7 in. UV ink prints on aluminum, six 7x7 in. chalk pastel drawings on tracing paper, three 10x10 in. oil paintings on wood panel, two 7x7 in. mixed-media assemblages
00. L.H.
Capriccio, is partially-visible in the two-person exhibition, (parentheses), as you peek above the walls and walk past the facade of ArtCenter DTLA. Capriccio is a simultaneously empty and overflowing field; using the the interior surfaces of columns and walls as painting surface in combination with a series of tiny frames atop those columns to nest images that are barely legible. A rotating trompe l’oeil color scheme adorns the central columns, while their (and other) column capitals are painted black, red, and green in a layout linked to American-style roulette. The images are similarly arranged according to this game of chance, and their numbers are linked to The Thirty-Six Dramatic Situations, a descriptive list written by Georges Polti in 1895, and subsequently used by a variety of writers and storytellers in order to structure narrative. The images themselves, however, are not aligned with the titles except by random selection.
Image content is comprised of personal iconography and archival material spanning text, photograph, drawing and painting. Elements include an enigmatic constellation of animals fighting, children’s drawings, floorplans and schematics, riddles, recursive references to other Love’s Remedies artists and projects, playful nods to artists both contemporary and historical, and, finally, the choice of BRD’s artistic work operating as ground in the figure-ground relationship both between her and Varamini within the physical site, as well as within the project of Love’s Remedies itself.
Eight painted columns: interior latex paint, matte
Five columns with inset painted frames: interior latex paint, matte
38 painted column capitals: interior latex paint, gloss
38 images nested in the column capitals: 27 7x7 in. UV ink prints on aluminum, six 7x7 in. chalk pastel drawings on tracing paper, three 10x10 in. oil paintings on wood panel, two 7x7 in. mixed-media assemblages
- Supplication
- Deliverance
- Crime pursued by vengeance
- Vengeance taken for kin upon kin
- Pursuit
- Disaster
- Falling prey to cruelty / misfortune
- Revolt
- Daring enterprise
- Abduction
- The enigma
- Obtaining
- Enmity of kin
- Rivalry of kin
- Murderous adultery
- Madness
- Fatal imprudence
- Involuntary crimes of love
- Slaying of kin unrecognized
- Self-Sacrifice for an ideal
- Self-sacrifice for kin
- All sacrificed for passion
- Necessity of sacrificing loved ones
- Rivalry of superior vs. inferior
- Adultery
- Crimes of love
- Discovery of the dishonour of a loved one
- Obstacles to love
- An enemy loved
- Ambition
- Conflict with a god
- Mistaken jealousy
- Erroneous judgement
- Remorse
- Recovery of a lost one
- Loss of loved ones
00. L.H.
