Derek Larson's show titled "Capital Yes" presents a new kind of art with displays of light and technology integrated with paint and sculpture.
The show features light and animations projected on cut-outs of strange organic shapes. Larson's choice in color palette makes a poppy atmosphere, using bright "cosmic" colors. He suggests that this was to mimic advertisement's attempts to catch viewers eyes. The shape of the surface the animation is being projected on is crucial to piece because it gives the light a physical presence. The sculptures are cut-out in a way that the projections fit perfectly on them with a bit of over hang to give them even more depth. They're eye-catching and very large, consuming the space as viewers give way for the projection to reach the sculpture.
Larson's work reminds me of street art. It's very poppy and "weird", like modern graffiti. In contrast, it looks sleek and modern when presented with technology as it's media. The largest piece in the show titled, "Double blind", is shaped almost like a billboard thats dripping and melting. This relates back to his theme of advertisements, but the melting suggests a decay in modern ads. The melting and dripping parts of his pieces reiterates a sense of decay and possible morbid undertones. This especially in the smiley face instillation because it is odd to see a recognizable happy symbol "dying" and melting.
For me, it didn't change the way I perceived the artwork. It's always nice to see the artist, but sometimes my questions go unanswered or I like my interpretation better. In retrospect I wish I would've asked about the painted panels of light, because I'm still a little fuzzy on their significance. However, getting some insight into how he uses animation and sculpture together was inspiring.
-Avery McGrail
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