The Overall Situation? Sticky. (Exhibit Statement)
This exhibition is the result of an artistic endeavor of collaborative curation by the cafe staff at Java Blend Coffee. Featuring work by several artists making use of several practices like portraiture, realism and found objects this exhibition explores themes of capitalism, mortality and the longevity of Greek Mythology’s relevance to modern society. While each piece examines different themes in it’s own way they are all presented in the medium of Sticky Notes (Post-It or otherwise.) This common thread sewn through each unique piece serves as a reminder that while we all may be interpreting, finding and coping with our place in this world in our own way we still need to “stick” together. Like a Sticky Note. You get it.
Java Blend would like to extend our gratitude to the venerable Constance Vaugn-Vaugnmeier (MFA, PHD, Attorney at law) for providing the following review, itself a work of art in its own right:
The piece from which this exhibit takes its name: Rothwell D’Burger’s Sticky is a snappy rebuke of modern pop culture’s obsession with nostalgia. The hand-designed text of Sticky channels the aesthetic of the greatest artistic triumph of the mid-90s, R.L. Stine’s Goosebumps, to draw the viewer back to that seminal decade. The bubble-gum imagery shows the reader that D’Burger’s target is “pop” culture and his refusal to use a modern post-it note (opting instead for scotch tape on paper) illustrates the issue of our culture being “stuck” to the past.
Touching on themes of existentialism, nihilism and veganism Turkey Day is an emotional force by debuting artist Symon Goblé. This is Goblés first appearance in an exhibition but she brings a weight to her piece that even more experienced artists struggle with. Goblé deftly anthropomorphizes the titular Turkey with a relatable facial expression that says “I just woke up from a nap and have no idea what day it is.” The piece takes a dark turn when we realize what the implications of “Turkey Day” truly mean for this bird and his obliviousness to them. Showing how we are bound to animals by our shared mortality this piece makes the viewer ask “will I know when my Turkey Day comes?”
Squidward And His Clarinet:
The Artist’s Glorious March Hindered Amidst Revolution
Crarlvin Sparx is an anti-capitalist community-based activist and multi-disciplinary artist whose practices include music, illustration, lithography, moon-dancing, swordplay and upcycled french cuisine. Squidward And His Clarinet is perhaps Crarlvin’s most renowned work known for its depiction of an artist living under capitalism. In this portrait we can see Squidward Tentacles, an octopus, take great joy in exploring his passion whilst having his legs cut off by the limitations imposed upon him by the post-it medium. This is to symbolize the demands of a capitalist society to always maintain a nigh unattainable level of productivity to step ahead and progress. Sparx hand-printed this piece in the print shop/gallery he runs out of his parents’ guest house. They are both doctors.
Canned Dish Blues
C. Heathrow Rum
An autobiographical piece by modern-realist C. Heathrow Rum; Canned-Dish Blues tells the story of Rum’s cross-country-rail-riding travels by documenting the contents of his favourite bindle. Originally part of a much larger series by Rum; Pork n’ Beans and Sardines in Oil were the only pieces to survive a 2018 fire at the Paula Cooper Gallery in New York, where the series was on display. Rum is currently a prime suspect in a series of cross-country murders. Anyone with knowledge of his whereabouts is encouraged to call CRIME STOPPERS Canada at 1-800-222-8477.
Remember Clippy? He’s back: in paper form! Drawing on similar themes of nostalgia seen in Sticky, Clippy’s Return takes it a step further to show the inability of past figures to find new solutions to modern problems. In a world of Siri, google assistants and GPS units with programmable Australian accents there’s simply no use for someone like Clippy. This is shown through the juxtaposition of printing Clippy on the medium word processors once tried and failed to make obsolete: note paper. Here we see Clippy eager to help but being completely trapped in his mundane three dimensional existence. Hmmmmm. What really separates us from Clippy? This exhibit is more existential than you thought it would be isn’t it? Art.
A piece left behind in our cafe by an anonymous artist. At first glance it may seem like a regular note left by one barista for another but the longer the viewer interacts with the piece the more questions arise. Who is Steve? When will he pick up? Why hasn’t he picked up yet? Was this punch card forgotten by Steve or left behind by someone else for Steve? What three pounds of coffee did they buy? Each answer spawns more questions like the heads of the fearsome hydra of greek myth. Answering even one of these questions would be a trial worthy of the mighty Hercules. That’s right this piece is actually an allegory for greek mythology and shows how it continues to be relevant in a modern society. Sur-prise!
This exhibition was made possible thanks to a generous donation by the Staples family