TWO SOLO EXHIBITIONS:
CHARLIE PILGRIM: hallucinatory participation: see art, be art
JOHANNA POETHIG: Phyllotaxis and Parastichy in a Time of Love and War.
& A COLLABORATIVE CONCEPT BY THE ARTISTS
Hallucinatory Participation: See Art, Be Art.
Using a kaleidoscopic lens to document museum goers, Charlie Milgrim's new photo series re-contextualizes the experience of viewing Bill Ham's light art installation from the De Young Museum's Summer of Love exhibition. By psychedelically superimposing the viewer onto the digital light show, the visitor becomes an active element. The lens alters the view of the spectator creating a hallucinogenic circle, where nothing interrupts the illusion.
Phyllotaxis and Parastichy in a Time of Love and War
We live in a time where science is fake and social algorithms entrap us. For the past century, botanists have studied the nature of phyllotaxis and the algorithmic beauty of plant growth patterns. The science that uncovers these systems that create life is the inspiration for this series of paintings and prints. Phyllotaxis is the spatial and temporal arrangement of leaves or petals around a stem or plant axis. Parastichy is the invisible, hypothetical spiral line connecting a series of leaves on a stem that create an effect on the human eye. The surreal gardens that I paint overlay organically drawn and mathematically generated computer models of plant algorithms mixing realism and abstraction. The story of love and war imagines a world populated by futurist plant people tangling with misshapen primordia in the toxic sludge of human de-evolution using phyllotaxis and parastichy masks as subversive algorithmic shields.