Review of the Art Show

On the clean, light beige floor, a sunflower seed laid. Or so it seemed. A sunflower seed, or pip. Not a berry, nor a bud, no grain, germ, spore or sperm. Closer inspection showed it was a ceramic representation of a sunflower seed, baked in an oven at 1125 degrees centigrade in an engobe wash of white on a dark grey clay base. It was perfect in every way, dimension, and colour, with all the right sunflower seedness it could possibly aspire to, except for the element of Life, the possibility of brood, descendants, heirs, offspring, posterity, spawn, spouting greens and petals flopping about in the Tuscan wind, to end its life nipped by a woman’s front teeth or a parrot’s beak. And, of course, this seed or pip being not of natural but of a human species kind of origin. Human nature. A total fake. A perfect fake…

Right next to the first ceramic sunflower seed, a second ceramic sunflower seed or kernel lay, equally perfect in sunflower seedy replication. It lay on a tilt, casting a vague little shadow on the first of the sunflower seeds, which caused it no harm or devaluation but, instead, only added to the reality of the scene of sunflower seeds and pips. This effect was further enhanced by the object next to these two seeds, for next to it, adjacent and vis-à-vis, yet another seed, pip or kernel was positioned, brushing the second seed or pip but not the first since it was too far removed from the aforementioned seed replica.

Number four of the sunflower seed imitations was a little harder to distinguish as it was partly obscured by sunflower seeds seven and thirteen, about which further information will be given forthright in full detail. But first it is about faux sunflower seed number five we need to talk, which was quite similar in shape, appearance and behaviour as sunflower seeds one to four and it lay on the clean, light beige floor, sunflower seedy as can be. The same could be argued about pip six, as I like to […]

Tomorrow I'll go on... and on... and on.

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