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In a sequence of four paintings, Witt Fetter continues to reflect on the contemporary condition of images in American visual culture. Through a repetition of color, form, and compositional structure, the paintings build a network of historic moments arranged in unexpected relation to each other. The work exists somewhere between genre and history painting—specific people, places and events are depicted in their afterlives as mutated fragments.
An artifact of mid-aughts pop culture folds into the lenticular surface of a windshield sun reflector. A public reassurance of safety following a falsely issued missile alert obfuscates a reality of ongoing disaster. A photograph of government and military officials during the raid to capture and kill Osama Bin Laden is cropped into a still life of abstracted violence and war fought under fluorescent lights. A hundred-year-old tragedy, the sinking of the Titanic, dissolves into the shape of an inflatable bouncy slide.
In her ongo…
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Press Release
In a sequence of four paintings, Witt Fetter continues to reflect on the contemporary condition of images in American visual culture. Through a repetition of color, form, and compositional structure, the paintings build a network of historic moments arranged in unexpected relation to each other. The work exists somewhere between genre and history painting—specific people, places and events are depicted in their afterlives as mutated fragments.
An artifact of mid-aughts pop culture folds into the lenticular surface of a windshield sun reflector. A public reassurance of safety following a falsely issued missile alert obfuscates a reality of ongoing disaster. A photograph of government and military officials during the raid to capture and kill Osama Bin Laden is cropped into a still life of abstracted violence and war fought under fluorescent lights. A hundred-year-old tragedy, the sinking of the Titanic, dissolves into the shape of an inflatable bouncy slide.
In her ongo…
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