B0D27261-C150-4F25-BDB2-B418A07B3D44_1_201_a.jpeg
B0D27261-C150-4F25-BDB2-B418A07B3D44_1_201_a.jpeg

Morphosis 2015

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sold out

This piece operates in the liminal space between pop symbolism and gestural abstraction, fusing the immediacy of street art with the layered intentionality of fine art painting. The central motif—two elephants rendered in vivid green, one aloft with wings, grasping a small American flag—functions as both playful and satirical. The elephant, traditionally a political symbol, is reframed here not as a stoic emblem but as a buoyant, almost cartoonish presence. Their forms, outlined in loose black contour, feel intentionally imprecise, allowing the viewer to read them simultaneously as characters and as gestural energy.

The background’s layered graffiti-like marks, in electric pinks and cool aquas, disrupt and complicate the central narrative. These repeated linear motifs suggest a coded language, graffiti tags, or digital glitching—interferences in the legibility of symbol and meaning. The overlapping gestures resist clarity, suggesting a world where messages are continuously overwritten, obscured, or reframed. The layering creates a tension between order and chaos, between cultural symbol and raw mark-making.

This piece operates in the liminal space between pop symbolism and gestural abstraction, fusing the immediacy of street art with the layered intentionality of fine art painting. The central motif—two elephants rendered in vivid green, one aloft with wings, grasping a small American flag—functions as both playful and satirical. The elephant, traditionally a political symbol, is reframed here not as a stoic emblem but as a buoyant, almost cartoonish presence. Their forms, outlined in loose black contour, feel intentionally imprecise, allowing the viewer to read them simultaneously as characters and as gestural energy.

The background’s layered graffiti-like marks, in electric pinks and cool aquas, disrupt and complicate the central narrative. These repeated linear motifs suggest a coded language, graffiti tags, or digital glitching—interferences in the legibility of symbol and meaning. The overlapping gestures resist clarity, suggesting a world where messages are continuously overwritten, obscured, or reframed. The layering creates a tension between order and chaos, between cultural symbol and raw mark-making.

The composition thrives on its contradictions: patriotic imagery is juxtaposed with irreverent scribbles; childlike whimsy collides with political undertones. The palette—dominated by acidic greens and neon pinks—feels simultaneously celebratory and corrosive, hinting at both vitality and unease.

Ultimately, the work resists singular interpretation. Is it a critique of nationalism, a playful reclaiming of political symbols, or simply an exploration of visual rhythm and chaos? Its refusal to settle is its strength. In the gallery setting, it demands the viewer linger in this ambiguity—caught between recognition and dissonance, satire and sincerity.