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Sally Grizzell Larson

Sally Grizzell Larson

Issue e.03, “$”

Sunday, 30 September 2012 15:55


The rhythm of clapping hands, the repetition of images in equally timed segments: We are lulled and seduced. Like any other high-functioning receptor, the human brain is indiscriminate about what it picks up. How then do we resist the seemingly benign when we're mesmerized by it in spite of our better judgment?

Credits: Conceived, produced, and edited by the artist.

The images in the piece are from Leni Riefenstahl’s “Triumph of the Will”. 

The text is paraphrased from the writings of Amédée Ozenfant (1886-1966), which reads as follows: "Manufactured forms are geometric and we respond to geometry because geometry communicates to us a feeling that some higher dispensation is being subserved, which thus becomes a pleasure of the mind and a feeling that we are satisfying the laws that govern our being."

Tuesday, 10 March 2009 02:00

Thread and Carbon, Oil and Steel

Modern life is cluttered with merchants of desire brokering replications of the natural world to a highly receptive public. And no wonder – the natural world is irresistibly incandescent with lively narratives, colorful creatures, and rich allusions that conspire to delight the senses and provoke the imagination. For most of us it is a state of mind that draws its currency from the appropriation of its best and most enduring quality: it is real.
But faced as it is with our monumental greed, and armed with little more than an obstinate disposition, the orderly and elegant beauty of this world is gradually slipping into verifiable decline; to the extent, I would argue, that nature has inevitably become a choice between true authenticity (burdensomely high maintenance) and the convenience of well-crafted artifice – an economic and ethical one that would not exist were the original not so often sacrificed, sleight of hand by unscrupulous merchants of desire or otherwise, to manufacture the imitation.
The imaginary landscapes here are meant to highlight this modern dilemma and the ongoing dance of attrition where nature is co-opted by its own fabricated image, or, where the snake as jewelry, becomes the prey of the bird as silhouette.