The brick paintings turn performative labor into objects. These works reference bricked-up windows, a holdover from the British “Window Tax” of 1696, paired with the mostly defunct practice of painted advertisements. The brick paintings are combinations of these two practices illustrating a further existence with linguistic potential.
The paints are from the Martha Stewart Living collection, a symbol of culture, branding, and advertising. Stewart’s democratization of taste frees one from the trouble of having to establish ones own aesthetic standard. Martha’s six-symbol methodology allows anyone, regardless of age, education, ethnicity, gender, or sexual preference, to create “a harmonious scheme and beautiful transitions.” Martha’s 12 favorites, called Martha’s Picks, are a selection of “only the loveliest colors.” Stewart’s soft and equitable palette brings a hopefulness and calm to an otherwise desperate and rigid existence.
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