Looking like the visual equivalent of a 1980s synth-pop duo, this techno-minded show of acrylic paintings by St. Louis- and Berlin-based artist Sarrita Hunn revels in grids, dots, and RGB/CMYK hues. A series of wood-panel paintings systematically dismantles its core fascination: the grid, painted crisply, diffusely and waveringly in unnatural shades. A portion of the work hangs over a strip of brick-patterned wallpaper printed to resemble the actual bricks that line the gallery's eastern wall. For all of its obvious digitization, the effect is startlingly virtual. Similarly, the adjacent northern wall is covered with a forest-scape whose blurry pixelization proclaims its artificiality at the same moment that it tricks the eye. Draped over the faux forest is a gummy net of acrylic paint — a drip-rendered grid freed of its substrate and hung like a limp cloth. Elsewhere, a larger wood-panel painting features a green grid with a red acrylic net slung over it. The color overlap creates a weird op-art effect — weird in that its mechanism is made so clearly and boldly tangible. Hunn's is an eye that sees both the once-futuristic aesthetic of the computerized universe and its latter-day demystification at once. A billboard piece topping the gallery features truncated stock imagery of the Gateway Arch that, from a certain vantage point on Gravois Avenue, joins perfectly with the distantly visible monument. Echoing this effect, the exhibit is accompanied by three augmented reality (AR) projects by artists Jesper Carlsen, Jake Peterson, and Gareth... More >>>
Fuzzy Logic comes into focus at Good Citizen Gallery through August 18.