Felipe Dulzaides & Packard Jennings (Excerpt)
byPetra Bideau

The concurrent solo exhibitions at Catharine Clark Gallery presenting Packard Jennings and Felipe Dulzaides made use of the unexamined life under scrutiny tying in several cases of suspect: suggestive advertising, target marketing, rediscovered perspective of the everyday, and the challenge of office culture on the human instinct.

Jennings and Dulzaides both utilize an invisible hand approach to guide the viewer toward seemingly clear stated conclusions on topics of universal concern while never insisting on any viable outcome. Minus any clear case in point methods and refusing any hard line tactics of a personal nature grants Jennings and Dulzaides a chance at producing interpretations from the jovial to the deeper inflective.

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Jennings and Dulzaides both utilize a personal value in their work on very different levels.

 

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Dulzaides photographic series, "Series: One-minute Installation in Havana", featured the phenomenon of perspective trading: what we view daily redefined by the help of Dulzaides impromptu drawings on scraps of white paper. Lampposts, clothes lines, flags, and city statues all received a simple translation. Dulzaides is the invisible guide in each print, as the focal point is such that the viewer is right next to Dulzaides while he reconstructs on site via momentary reconsideration.

Dulzaides C-Print series of his recent site specific billboard project in San Francisco titled "Double Take" are beautiful billboard size replicas of city landscape articles. The emblematic billboard reproductions offer little to interject beyond the reproductions of the immediately recognizable. "Double Take" is fulfilled by occupying billboard space otherwise leased by advertisers, such as one of the projects sponsors, Clear Channel. With its rank and merit in urban art, Dulzaides personal intuition seems absent with the "Double Take" series (unlike "Series: One-minute Installation in Havana"), instead present is a place holder in the ever current San Francisco tradition of flighty urban discourse: messages that read more as 'non-messages' that are vaguely linked to personal perception more than that of any one true defining point or cause. The sterile and empty feel of "Double Take" is depressing when viewed against Dulzaides more personally involved work on display.

 

 

Excerpt, Shotgun Review, May 18