Invocation, and the integrated spectacle.
I’ve always had this fetish for fiction intertwining with reality, and blurring those edges – especially where these either make for a good dialogue about life and art. Perhaps it even fulfills a need I have; for irony to find a home in art. The effect of bringing lightness and humor to every experience now prevails, because, only now, I can see it in all of my work...!
In France and Britain, in the mid-to-late 60s, Situationists played with the messages brought forth by the spectacle, when they doctored its language and subverted its imagery.
The most notorious offense, lies in the commercial misappropriations of the human form, face and body – especially the face. At its least obvious, we usually recognize desperation on the part of a seller, to put on a Noxzema-fresh, Photoshopped close-up of a sexy model – as a gesture of unattainability.
The place for this in Day For Night's body of work exists within a desire to uphold the aesthetic appeal of beauty and the beautiful creation, but meanwhile, it assumes some overlap with the integrated spectacle.