US Capital
- 97 x 48 x 20 cm
- Origineel sculptuur
- Aluminium, RVS, PVC, hout, gips, digitale print
Mementos and advertising from an alternate reality in which certain people are not famous. What would their day jobs be?
Miles Jaffe and art as an (ironic) tribute to the art
Money, words, pencils, canned tomatoes, it seems that from the enormous tubes of paint made by Miles Jaffe manages to get out of everything, except tempera. The American artist has always had a very logical, mechanical and sometimes cynical vision of art.
After a careful analysis and deep study, Miles, tries to find the mechanisms and motifs behind, not only to a work of art, but to anything that surrounds him. But after understanding how and above all, why things work, he went on to look for an answer to the question Why things don't work?
This negative vision is reflected in his art, in his giant tubes of color exposed only and exclusively upside down, on the contrary, from which come out things that apparently have nothing to do with art. But perhaps, after Warhol, or because of Warhol, there is no longer a boundary between art and not art, making everything a work of art and works of art everything.
As Miles himself says:
“My work contemplates the relationship between artist, medium and product – and thus the very nature of art itself. It is a parody of parodies, which of course makes it a tribute as well, with no small irony.”
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Miles Jaffe
Miles Jaffe and art as an (ironic) tribute to the art
Money, words, pencils, canned tomatoes, it seems that from the enormous tubes of paint made by Miles Jaffe manages to get out of everything, except tempera. The American artist has always had a very logical, mechanical and sometimes cynical vision of art.
After a careful analysis and deep study, Miles, tries to find the mechanisms and motifs behind, not only to a work of art, but to anything that surrounds him. But after understanding how and above all, why things work, he went on to look for an answer to the question Why things don't work?
This negative vision is reflected in his art, in his giant tubes of color exposed only and exclusively upside down, on the contrary, from which come out things that apparently have nothing to do with art. But perhaps, after Warhol, or because of Warhol, there is no longer a boundary between art and not art, making everything a work of art and works of art everything.
As Miles himself says:
“My work contemplates the relationship between artist, medium and product – and thus the very nature of art itself. It is a parody of parodies, which of course makes it a tribute as well, with no small irony.”
