![]() ![]() Through these works, I’m able to control the outcome and nature always comes out on top: the sun will come out, rainbows will form, and there will be another day. Of her paintings, Longobardi continues, “They are visualizations of vast forces of collision between natural processes (such as chemical patination of copper) and industrial human-made products (like plastics, acrylics, resin, and oils) that are happening around the world, all shrunken to the manageable scale of a painting space. She states, “I view the paintings as an antidote to the plastic work, but still wholly part of the Drifters Project.” A project in which she has transformed oceanic plastic debris, collected independently by Longobardi and as part of collaborative cleanup projects, into installations and public artworks whose ephemerality recalls the transient drift of their materials in situ. Her current paintings use the genre of landscape painting to warn of untold changes, exploring the imaginary and near-real. Through modalities of forensic and archaeological investigation, Longobardi investigates the problematic psychological relationship between humans and the natural world while simultaneously suggesting an interconnected fate. By an old tortoise for his foundling baby hippopotamus. A future for ourselves is constantly being written. ![]() ![]() The grand narratives of human conquest are a story of the past. Storms unfold, release energies, dissipate and reform, moving matter in spectacular cataclysms. The paintings presented in this exhibition are a visitation from a farther future of imagined beautiful disasters. re-invention based on archaic beliefs that still holds weight in many circles of contemporary society. In this way, Atlanta based conceptual artist Pam Longobardi is reminded of the infamous ‘Flat Earth Society’, a mid-19th c. ![]() Climate change and mass extinction are undeniably real and visible to all, yet so many heads are still in the sand while the world burns, melts, weeps, and dries up. ![]()
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