Platial | Who and What's Nearby
Platial | Who and What's Nearby
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We are trying to con our way out of her lease agreement. She has me calling the landlord, inquiring for any available single, on the bottom floor, where it's quiet. Earlier this week her bathroom ceiling opened up like a sogged diaper, spilling the lodgers'-above shit-water into her stand-alone shower, onto her loofa, onto her toothbrush. This was in the morning too. For the minutes before discovery, tucked deep beneath covers, she imagined nightmare scenarios creating the crash--a burglar, a sexual predator, a bomb. But it was just filthy water making a mess of things.
Looking at Aimee Tomasek's photos in the Strimbu Gallery, I couldn't help but think of Lauren's water trouble, the comforting smallness of the devastation. She doesn't get the kind/cruel opportunity to knit together blue FEMA tarps to make a dress, or eat sludgey, chemically-boiled food from tan MRE bags, and her refrigerator--walls away from her bathroom--isn't growing mold. She also doesn't get to exercise her disappointment with her housing in the way of performance art, in costume regalia, in a street parade. She could, but aren't we adult enough to coast along these DIY adventures without causing a big scene?
The New Orleans of 2004 versus the New Orleans of 2006, given the tightly contextualized, framed, and referenced pieces in Tomasek's work, illustrates a shift from the prankish, childish, fool-hearty fun-time of pre-Katrina Mardi Gras, with the politically-charged, ironic, and savvy skewering of post-Katrina Mardis Gras. While drag-queens and tarts dominate the content of her pre-Katrina images (images perhaps conveying just as much satire, only aimed at sexual conservatives), post-Katrina pictures show positivism, community, and a high threshold for pain, in a bent that condemns President Bush and the bureaucratic nightmare of New Orlean's flood relief.
Both years photographed are linked by caucasian men with fierce jaws, strong chins, who don tiaras of rhinestone and feather. 2006 was also graced by the appearance of Federal Emergency Marie Antoinette.
Lauren, how to best ideologically align with the patriots in Tomasek's Mardi Gras photo series, knowing we may never be so severely tested as they: stay put.
We are trying to con our way out of her lease agreement. She has me calling the landlord, inquiring for any available single, on the bottom floor, where it's quiet. Earlier this week her bathroom ceiling opened up like a sogged diaper, spilling the lodgers'-above shit-water into her stand-alone shower, onto her loofa, onto her toothbrush. This was in the morning too. For the minutes before discovery, tucked deep beneath covers, she imagined nightmare scenarios creating the crash--a burglar, a sexual predator, a bomb. But it was just filthy water making a mess of things.
Looking at Aimee Tomasek's photos in the Strimbu Gallery, I couldn't help but think of Lauren's water trouble, the comforting smallness of the devastation. She doesn't get the kind/cruel opportunity to knit together blue FEMA tarps to make a dress, or eat sludgey, chemically-boiled food from tan MRE bags, and her refrigerator--walls away from her bathroom--isn't growing mold. She also doesn't get to exercise her disappointment with her housing in the way of performance art, in costume regalia, in a street parade. She could, but aren't we adult enough to coast along these DIY adventures without causing a big scene?
The New Orleans of 2004 versus the New Orleans of 2006, given the tightly contextualized, framed, and referenced pieces in Tomasek's work, illustrates a shift from the prankish, childish, fool-hearty fun-time of pre-Katrina Mardi Gras, with the politically-charged, ironic, and savvy skewering of post-Katrina Mardis Gras. While drag-queens and tarts dominate the content of her pre-Katrina images (images perhaps conveying just as much satire, only aimed at sexual conservatives), post-Katrina pictures show positivism, community, and a high threshold for pain, in a bent that condemns President Bush and the bureaucratic nightmare of New Orlean's flood relief.
Both years photographed are linked by caucasian men with fierce jaws, strong chins, who don tiaras of rhinestone and feather. 2006 was also graced by the appearance of Federal Emergency Marie Antoinette.
Lauren, how to best ideologically align with the patriots in Tomasek's Mardi Gras photo series, knowing we may never be so severely tested as they: stay put.
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