Thompson’s video work Disentangled adds the show’s final touch. Seth Thompson, Size Matters, 2017 archival pigment print mounted to Dibond, 20 by 16 inches. All of these images were sourced simply, via Google image search. Random messages whisper here and there-“my head is a prison and nobody visits,” “4 real VHS noise 2 pack”-in small monospaced font, akin to the heads-up display of a handheld camcorder. Thompson places the photos in a cross shape, heightening the silly voyeuristic weirdness of stolen vacation memories and stretching his mass-culture theme to hyperbole.Īn 11-foot-wide arrangement of digital stills covers one of the gallery walls, its pixelated chaos helping to flesh out the exhibition with a chorus of horizontal lines and rectangles of blue nothingness. Candid in the extreme, children pose underneath the beast’s gigantic plastic jaws or even pretend to be devoured inside. Specifically, these photographs capture visitors to Bruce’s Shark World at the Epcot theme park near Orlando. Enter Bruce Almighty, a composition of 10 prints featuring a cartoon shark from Disney’s Finding Nemo. Not everything is terrifying in Thompson’s world, though. Need Input, 2016-17 archival pigment print mounted to Dibond, 20 by 16 inches. The real-world allusion is haunting, yes, but also draws the viewer back to reinspect and appreciate videographic artifacts of blurred color or the numerical date stamp in frame. Still, there is nothing explicitly sinister captured in Thompson’s imagery. Rebecca Shaeffer was a young Hollywood actress murdered by a stalker in 1989. The print comprises a four-by-four grid of repetition, a dance of colored light photographed against darkness like the inside of a long kaleidoscope, perhaps a sequence over time.
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Titles of other works include mention of World War II, the Menendez brothers (who went on trial in 1994 for murdering their parents), and Amy Fisher (who at the age of 17 became another television pseudo-celebrity in the wake of violent crime).ĭespite its name, The End of Innocence (Rebecca Shaeffer’s Murder) has a kind of soothing nocturnal beauty. Looking for more clues, visitors might find Thompson’s statement containing such dark references as the Jonestown massacre (infamously involving death by poisoned grape-flavored beverage). Seth Thompson, Maybe it was Flavor Aid, 2017 archival pigment print mounted to Dibond, 15 by 18 inches. Beyond that, the exact subject matter is mysterious, a madcap guessing game that the artist encourages with the roguishly verbose title American soldier, obviously very skilled in martial arts, single-handedly takes on mercenaries in the Philippines.
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One prominent image, for example, shows the imposing sun-bleached silhouette of two athletic men captured from a low-angle camera.
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Some of these sources are still recognizable (tiny portraits of Donald Trump, a Warhol-esque patterning of the Kool-Aid Man), while others are transformed beyond legibility, dissolving into maroon dandruff debris or blue-white TV noise. The artwork often starts with a photograph found online.