Esme Thompson-Turcotte

Untitled

Untitled as a structure, is deceptively inviting - it offers transparency and breaches to coax the viewer in, yet it is sealed. The contrasting appearance as an edifice and its function as a sculpture and a solid references the exclusivity of the art market and of profit. The appeal and allure of the structure mirrors the similarly appealing ideal of artistic success, both cultural and economic. The desire for prosperity of the artist and representation from the public often goes unfulfilled. The portraits of various figures in the art world (collectors from the past and present) allude to the social perception of the function of art and its role as a commodity within a market. It plays with the responsibilities bestowed upon art, to represent social issues, to be a voice for the “voiceless” and to communicate some higher sense of good, is understandable, yet ultimately let down by the reality of art functioning within a market as any other product does, a currency which the viewer can not control the use or morality of. Forced Migration, a term which discusses a broad array of conflicts both militaristic and imperialistic, is difficult to grapple with as considerations of personal viewpoints, and the identity factors associated with them, have to be made. The role of corporations in funding displacement and exasperating social and political issues feels at times crushing and inescapable. Individuals with great wealth and power have the ability to sway conflicts. The unfortunate realization that entities considered “sacred”, literature, music, forms of culture which, in order to exist within a free market must be commodified themselves, disappoints the idealistic view of ideas and values, and art is no exception to this. The varying levels of transparency of the piece aim to create a relationship with the viewer analogous to that of the viewer and the art market at large- one of discord and fallacies.

Installation, 2018