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Borrowing its title from the virtual reality device, the vectors of this image call to mind an array of theatrical Klieg lights, revolutionary at the turn of the 20th century. 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Here, the print recalls the work of Henri Matisse and the Fauvist movement of the early twentieth century. 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He begins by silkscreening ink through blank screens onto swaths of muslin, using the screen for its textural advantages rather than a mode of image making. He then cuts out shapes and applies them in overlapping layers on canvas, allowing the folds and loose threads of the fabric to remain as part of the composition. \u003cem\u003ePhantom Stain\u003c\/em\u003e is graphic and delicate, with subtle marks and color variation peeking through the bold black of its carefully constructed form. 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Harp explores the disparity between what constitutes an \"original\" work of art and what is seen as mere trivial decoration, building a painting system in which uniqueness can be embedded inside a conventional syntax. This system includes working from how-to YouTube videos and other instructional experiences, creating visual tension through the paradox of irregular uniformity.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eOur White and Black frames have a ⅞” wide flat face and are 15\/16” deep. Our Walnut frames has a ¾” wide flat face and is 1 ⅛” deep. 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The title comes from a widely known 1980 documentary television series that addressed the development of modern art since the Impressionists. Throughout eight episodes, it examined art's relationship with the pleasures of nature, the relationship between art and authority, the surrealists' attempts to make art without restrictions, among other topics. 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Expressionless and devoid of individual features, these works demolish an idealized feminine beauty and challenge traditional representations of gender. As the figures buckle and twist into caricatures, they confuse the gaze which originally conceived them. 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