'Victory of Blue Over Green' appears a memorial to the happy results for 'Blue' in a struggle against 'Green', an impression fostered by the victorious hand thrusting out of the pedestal, through the remnants of the war, and into the air. There are the melted remains of both 'Blue' and 'Green' pooled at the base of the hand atop the pedestal, which indicates that casualties were suffered on both fronts, and this 'Victory' was had at a high cost.
The strength of the hand's gesture coupled with the stilled viscous movement of the liquid 'Blue' and 'Green' seated on top of a pedestal, and with a handwritten, distressed sheet of paper give this piece on its own a power to convey the inanity of conflict and war in the wholly unfamiliar setting of otherwise innocuous colors.
The documentation of this work, however, detract from the the powerful statement of this work. The inconsistent backgrounds throughout the images make it vaguely difficult to focus on the sculpture itself, when there appear to be two different environments depicted in the brick wall of the first two images and the dim-lit corridor behind the third. This would seem to imply that the memorial might be best seen in two different lights. The brick wall and the mostly dark background, however, do not add much to the narrative of the war or its aftermath either in aesthetic composition or to the narrative itself.
The third image adds little to the information about this piece provided by the second image. These two images appear to have been shot from the same angle; the lack of varied perspective locks the viewer into seeing this mocking memorial to war only in one dimension, something which is among the most harmful pitfalls of partaking in conflict.
Beyond setting the memorial in a darker environment and showing the back of the hand, there is little more seen of this piece than in the prior two images. Given the run-off of the material down the edges of the pedestal, an holistic image would be very powerful in the impact of seeing the memorial standing triumphantly upon the obvious remains and desecration of a war.
On its own, this piece makes a strong statement. The documentation, however, loses the import of such a statement in the painful contrast between the red brick and the light blue hand, and then the overly stark contrast of the mostly dark room and the bright blue hand. Too, the consistency of the photography of this piece does not seem to add anything to it; rather, its might even take away from the statement on war and conflict that this piece seems to be making.
'Victory of Blue Over Green' appears a memorial to the happy results for 'Blue' in a struggle against 'Green', an impression fostered by the victorious hand thrusting out of the pedestal, through the remnants of the war, and into the air. There are the melted remains of both 'Blue' and 'Green' pooled at the base of the hand atop the pedestal, which indicates that casualties were suffered on both fronts, and this 'Victory' was had at a high cost.
ReplyDeleteThe strength of the hand's gesture coupled with the stilled viscous movement of the liquid 'Blue' and 'Green' seated on top of a pedestal, and with a handwritten, distressed sheet of paper give this piece on its own a power to convey the inanity of conflict and war in the wholly unfamiliar setting of otherwise innocuous colors.
The documentation of this work, however, detract from the the powerful statement of this work. The inconsistent backgrounds throughout the images make it vaguely difficult to focus on the sculpture itself, when there appear to be two different environments depicted in the brick wall of the first two images and the dim-lit corridor behind the third. This would seem to imply that the memorial might be best seen in two different lights. The brick wall and the mostly dark background, however, do not add much to the narrative of the war or its aftermath either in aesthetic composition or to the narrative itself.
The third image adds little to the information about this piece provided by the second image. These two images appear to have been shot from the same angle; the lack of varied perspective locks the viewer into seeing this mocking memorial to war only in one dimension, something which is among the most harmful pitfalls of partaking in conflict.
Beyond setting the memorial in a darker environment and showing the back of the hand, there is little more seen of this piece than in the prior two images. Given the run-off of the material down the edges of the pedestal, an holistic image would be very powerful in the impact of seeing the memorial standing triumphantly upon the obvious remains and desecration of a war.
On its own, this piece makes a strong statement. The documentation, however, loses the import of such a statement in the painful contrast between the red brick and the light blue hand, and then the overly stark contrast of the mostly dark room and the bright blue hand. Too, the consistency of the photography of this piece does not seem to add anything to it; rather, its might even take away from the statement on war and conflict that this piece seems to be making.