Paper is generally at the bottom of the two-dimensional art hierarchy, but pushmi-pullyu out of the woods evidence proves that such logic doesn't exist.
If authenticity is the first step toward originality, Janus Bifrons is facing hard times with inauthentic visual metaphor in art. The pushmi-pullyu often behave in ways that reinforce authenticity.
Marianne Moore's definition of poetry is "imaginary gardens with real toads in them."
The artist's morality lies in the force and truth of his description. Its grittiness is part of its allure.
Jules Barbey D'Aurevilly
Art does not require an explanation.
Pushmi-pullyu's art is ambiguously positioned between the world of drawing, etching, and painting, questionning the authenticity of the gaze.
We deal with it by talking about it. We deal with it by talking about italian artists who attacked the corporate mentality with an art of unconventional materials and style. The artists themselves were mostly annoyed by being unfairly branded by a term as dry as toast in the eyes of many critics.
Janus, the Roman god of beginnings, endings, and transitions was somehow an antique pushmi-pullyu, condensing fleeting images into timeless art. A name, Janus (the Roman god of transitions) added, can change the trajectory of a life.
Are pushmi-pullyu real? What a backward world we live in.
If ambivalence in flat worlds is so variable across the internet, how will we learn how Pushmi-pullyu lives in an upside-down world? The amphisbaena had a twin head, that is one at the tail end as well, as though it were not enough for drawing from the origin of art to the real end of painting. They are joined by captions that likewise contribute to the resulting ambivalence.
Ambisphenes elaborate compositions that picture possibly non-human animals, nearly indescribable, almost intergalactic but literally timeless. They champion the underdog.
Salvador Dali's birthday cake-boat, because real artists ship. How blurry the line between fiction and reality is when sailing away from the safe harbor on a birthday cake-boat. Words are but wind.
In Paris, Edward Koren studied printmaking, etching and engraving for two years with S.W. Hayter at the prestigious Atelier 17. Edward Koren, who never retired, worked until the end.
Imaginary gardens with real toads in them.
Instinctive philosophy of human life.
Pushmi-pullyu still thinks that their job is to convince the reader of how elegant and cool the art is behind the riddle while living their lives as life should be lived. The distance that Pushmi-pullyu installs between itself and its models is not that of indifference.
For a dream, there is no price, but building too much of what the world doesn’t need typically ends badly.
What does it mean, to understand? ... I don't know. A random walk through possibly doubtful art, uncertain and certain at the same time. Don't worry about anything... Go out and have a good time with art as possible.
双光子式样