I’m reliably informed, by persons far more knowledgable than I on the subject of art theory, that in the work of Matthew Palladino we are encountering “the language of ubiquitous interfaces” using elements “repeated and arranged into elusive and discontinuous narratives that are in equal parts seductive and sinister”. Well I say fair enough, that sounds like a very expensive education so who am I to argue, although I find it hard to imagine that Palladino takes himself that seriously. This is, after all, an artist who uses plastic Groucho Marx glasses-nose combos in his work. Someone who deconstructs cheeseburgers. A guy who puts blow-up dolls centre stage.
The finer nuances may be lost on me, but that’s not to say I don’t Like Palladino’s updated versions of antiquated wall-mounted reliefs a lot. I like how those comedy glasses snaking around a field of green plants reminds me of Pac-Man. I’m totally intrigued to wonder how the two plastic men, identical save for a distinguishing moustache, are quite so identical — down to every last crease and crinkle of their “skin” (spoiler alert: the figures, just like the other repeated objects, are cast from molds). The series is being shown at Restrospective in Hudson, New York, until 31 May.
