pale grass blue
In response to the unsettling feeling that things remain the same yet have become weird, Pale Grass Blue explores the viscous and porous nature of reality, wherein everything slips into the void when we attempt to grasp it, only to radiate back something that displaces, recurs, and fractures our modes of thought. Everything becomes blurry, hazy, and loopy.
Building upon the ecological thought of philosopher Timothy Morton and his theoretical assertion of the hyperobject, Pale Grass Blue uses its theme of radiation to bring together soft tissue, light, spray paint, construction waste, walls, the surface of your optic nerve, and these very lines to which it is now soldered—creating a shimmering landscape of objects, installations, and remnants of text.
Some of these elements and materials are specific to the handling of radioactive substances or even include them; others evoke notions of shelter-like constructions and shielding, or reflect our common use and perception of radiation, such as X-ray boxes, floodlight elements, and textual instruction within the installation. This diversity of media and materials is intended to contribute to the exhibition's main theme and demonstrate how these various forms of representation and appearance inescapably cling to our everyday lives, seeping their toxins into the fabric of the socio-political environment and geographical landscapes in which we live.
In this regard, radiation flickers, rendering every object its own Geiger counter, reminding us of events that have transpired and will continue to effect change long after we are gone. Ecocide, wars, body politics, avant-garde, black holes, religion, and capital—each constitutes a radioactive event that alters and reshapes the genome of what we term reality, akin to scratchy rays that, once observed, burn and mutilate, leaving everything new, othered, and bizarre, like the wings of a mutated Pale Grass Blue.