Make-Believe
Giclée print on Hahnemühle Photo Rag®
“Make-Believe” explores correlations between the structures of religion and corporate production. The print depicts work cubicles and office ephemera organised around raised crosses, all encased within an image of a snow globe. The use of this kitsch object visually mirrors the form of a dome surveillance camera, much like the cross reminds one of Christ. These visual cues allude to surveillance, the monitoring of the dutiful to ensure productive and righteous behavior. The space depicted reflects the hierarchies of these organizations, revealing the machinations of both as a tension between solidarity and individuality, conformity and power. Further playing into these dualities, the use of kitsch probes the boundaries between fine art, religious iconography, and the mass produced object.
Giclée print on Hahnemühle Photo Rag®
“Make-Believe” explores correlations between the structures of religion and corporate production. The print depicts work cubicles and office ephemera organised around raised crosses, all encased within an image of a snow globe. The use of this kitsch object visually mirrors the form of a dome surveillance camera, much like the cross reminds one of Christ. These visual cues allude to surveillance, the monitoring of the dutiful to ensure productive and righteous behavior. The space depicted reflects the hierarchies of these organizations, revealing the machinations of both as a tension between solidarity and individuality, conformity and power. Further playing into these dualities, the use of kitsch probes the boundaries between fine art, religious iconography, and the mass produced object.
Giclée print on Hahnemühle Photo Rag®
“Make-Believe” explores correlations between the structures of religion and corporate production. The print depicts work cubicles and office ephemera organised around raised crosses, all encased within an image of a snow globe. The use of this kitsch object visually mirrors the form of a dome surveillance camera, much like the cross reminds one of Christ. These visual cues allude to surveillance, the monitoring of the dutiful to ensure productive and righteous behavior. The space depicted reflects the hierarchies of these organizations, revealing the machinations of both as a tension between solidarity and individuality, conformity and power. Further playing into these dualities, the use of kitsch probes the boundaries between fine art, religious iconography, and the mass produced object.
‘Snow Globe’ 2008
