Panel secured by metal fasteners
Former Art Storage Facility in what was Los Angeles
c. 0001990 CE
Discovered by a sightseeing dive off the former city of Los Angeles, in land once known as the United States, this near-square panel lacks an image. It is unclear what it depicted or represented. Its materials have long since been waterlogged owing to the floods and sea level rise that reclaimed the coast sometime in the early Anthropocene.
Art Critiquer (Sentient Cephalopod Mollusc)
This objet trouvé (a human-made quotidian white panel) has been re-imagined by the mesmerising genius and spirit of caprice of Marine Artist Colony (MAC). Deploying assured technique and control of materials, while highlighting and defamiliarising art making by their own instance as ‘traditional painters’. Driven to transform an unnatural expanse of white that enjoin the viewer to retrace the picture’s emergence. Already inclined to emphasise process though this study of octopus mood changes. Working at the cutting edge of contemporary art making, beyond clichés of reduction and exhaustion, and instead positing it as an enactment of focus, intensity, and invention. Their oft-stated belief is that non-sentient pictures are a delicacy to enjoy.
Span Too Far
Artist: Richard Rynham (0001940-0002035 CE)
signed, titled and dated 'Rynham 1990 “SPAN TO FAR” (on reverse)
Media: Oil on canvas with rust proof paint, with four painted ferrous metal brackets and bolts
Size: 75 1/2 x 72 in. (191.7 x 182.8 cm.)
Date: Painted in 0001990 CE
Span Too Far
As a disciple of Minimalism, the artist had been corrupted by exposure to decadent art of the Pre-Inundation. He fabricated blank white paintings that were said to contain supernatural beauty invisible to those with an untrained eye. These paintings hoodwinked gullible people of great vanity, before the deception was exposed by a child’s truth-telling cry. No one really believed, but everyone believed that everyone else believed, until it was revealed they didn’t.
Span Too Far
As a disciple of Minimalism, he fabricated white paintings—none the same—that contained supernatural beauty only visible to those with a trained eye. These paintings pictured only the materials and process of their making, without recourse to myth, narrative, literature, or history. Plainspoken they nevertheless were said to be decadent. Was this art of the Pre-Inundation deception, hoodwinking people of great vanity? Or a painting of and about truth hidden in plain sight? No one really believed, but everyone believed that everyone else believed, until it was revealed they didn’t. Unless they did.
