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All the World’s a Colosseum at Et Al Projects

Brian Galderisi, Untitled (Fig. 3.2) Courtesy of Brian Galderisi and et al projects, 2013 Have you ever wished you could step into a painting? In Brian Galderisi's show Colosseum at Et Al Projects, the artist takes the notion of doing so to another level, albeit a creepy one. Galderisi has previously shown his mixed media […]

All the World’s a Colosseum at Et Al Projects

All the World’s a Colosseum at Et Al Projects

Brian Galderisi, Untitled (Fig. 3.2) Courtesy of Brian Galderisi and et al projects, 2013 Have you ever wished you could step into a painting? In Brian Galderisi's show Colosseum at Et Al Projects, the artist takes the notion of doing so to another level, albeit a creepy one. Galderisi has previously shown his mixed media […]

All the World’s a Colosseum at Et Al Projects
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Brian Galderisi, Untitled (Fig. 3.2) Courtesy of Brian Galderisi and et al projects, 2013
Brian Galderisi, Untitled (Fig. 3.2) Courtesy of Brian Galderisi and et al projects, 2013

Have you ever wished you could step into a painting? In Brian Galderisi’s show Colosseum at Et Al Projects, the artist takes the notion of doing so to another level, albeit a creepy one.

Galderisi has previously shown his mixed media collages at the space’s first ever exhibition at 56 Bogart, which typically depict masked or distorted faces, and environments that combine a look and feel of your grandmother’s charming attic full of antique treasures, and your uncle’s eerie “rec room” from the 1970’s. What makes the series of photographs in Colosseum different is that the artist takes his environments a step further, by building 3D spaces that he places himself into dressed as clown-like versions of the characters in his collages.

Brian Galderisi, Untitled (Fig. 5.1) Courtesy of Brian Galderisi and et al projects, 2013

There’s a strong sense of conflict and a “push and pull” element throughout the show. The environments are comprised of objects unique to his style (a monkey mask, a vintage ad for Guinness, an old portrait) and bits and pieces of recognizable themes from modern art and abstract expressionism like bright Matisse inspired cut-outs and play on proportion, an atmosphere reminiscent of circus performers from Picasso’s rose period, and are all peppered with a hint of Francis Bacon-like terror. By referencing the different works, Galderisi pulls viewers into a familiar space, and pushes them away by placing his unconventional character in the room.

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