DIS-FUNCTION: CRITIQUE
. . .at first glance, seems to stir up some sort of theoretical awe. This immediate response may occur by means of a superficial idea about what busty dresses, leather, metal chains and buckles may symbolize- which is a sort of visual seduction intended to intimidate. Upon further appraisal, we may witness the development of Disfunction as a reflection of social obligation. . . .In other instances, seems to be a project entirely based on visual stimulation and form. This appraisal comes from the simplicity of the fabrics and design, which project comfort and a return to the basic structure of clothing. Although simplicity as an aesthetic quality does not correlate with Disfunction as a theoretically binding median, it satiates its purpose as a sculpture and as an image reflecting a particular style or the taste in which the artist outputs. What is the value of Disfunction? As a work of art, it should contain evidence of symbolism and a certain talent in which the artist exhibits to set herself apart from other artists. Aside from being an original work of art, it should also reflect some aspect of subjective, or objective, understanding, or incomprehension, of the self. In my opinion, Disfunction demonstrates legitimate characteristics of both the former and the latter necessary justifications for intrinsic value as a work of art. Seeing multiple subjects fused together with leather garments, giving life to the sculpture, portrays an obligation similar to the one we experience everyday, which is the obligation to integrate and sympathize with others and to the times by means of sharing the same space and the limited ways of expression (assuming clothing, for example, can be utilized as a means of expression). The artist creates a space to be shared with her sculpture, while not allowing a by- standard to completely integrate with the sculpture without becoming a multiple- subject with other individuals. The use of clothing as a politically- correct way of homogenizing the subjects is a beautiful way of demonstrating humility, which we find every time we dress ourselves. This requires a certain level of talent and chutzpah on behalf of the artist, setting her apart from more conservative ideologies while maintaining a tasteful arena in which to portray her contributions to the art world. The artist chooses vivid colors and textures for Disfunction that penetrates the eye and creates a pleasant visual perception of the sculpture as a whole. My impression of the clothing design is that it seems classical, and very simplistic, which takes me back to more wholesome times I have been conditioned to understand as being honest ones. Therefore, I feel as though Disfunction creates a reduction in distractions, allowing me to better communicate with the art and the theoretical possibilities that it just might be adding salt to our distraction- caused social wounds. This is a good example of a true paradox of our collective psychology. In addition to the lively garments and the way they seduce the cognitions, I believe that the quality and fashion of the leather used in Disfunction is modest yet effective. Its natural tones allow for a more organic look, which permits the viewer to, once again, reduce distractions, relax and observe the further realities of the sculpture as a whole. In most circumstances, leather is considered to be a rigid or erotic material, but the artists does a fantastic job in re- inventing leather, so as to add credibility to the work. On the contrary to restricting, this particular leather seems to snuggly grip the subjects in a seemingly unpretentious and comfortable way. In Disfunction, chain links and metal buckles are used, in addition to silky cloth and virgin leather. Chains are also associated with the erotic, but perhaps better correlated with restrictive devices such as handcuffs or shackles. Typically, the layman avoids such devices. Buckles are symbols of virility and security, as well a being a technology that is very utile and conventionally used. The combination of metal chains and buckles may intimidate the viewer into double guessing his, or her, own insecurities about Disfunction. This may have been an unintentional byproduct of the taste in materials exhibited by the artist, or it may have been deliberate, so as to portray a theoretical possibility behind many frustrations associated with social obligation. For example, we may be bound, like the chains and buckles, to certain responsibilities and people due to a social contract, such as employment or education. On the other hand, chains and buckles may signify security and protection. We may juxtapose the unity amongst two subjects in a healthy relationship or multiple subjects on a football team, as they are also bound like chains and buckles, only in this case it is a positive social contract in which all parties agree upon agreeing towards a certain objective. These aspects of Disfunction make it more credible as a dynamic work of art, giving it great aesthetical and theoretical value. The artist has fashioned a world of microcosms amongst a banquette of gaudy, yet simple, outfits. Every aspect of Disfunction can be seen as a subtle excuse to question the value of such an artwork, yet always concluding itself with just paradoxes. Aside from its impracticality in most public spaces, Disfunction depicts a flash of life as a social animal. It is as wonderful to look at, as it is to decipher. The title of this piece justifies the matter of values as norms and values as ideologies. Although not seeming to be a norm, this work is a lucent example of a cross-section of existence in an ideological environment. Cheers to Rute Ventura for her hard work, vigorous planning and impeccable attention to detail.
BY: Daniel J. Enxuto 2006