CURE/RATED: Bigotry, a Societal Cancer: With FADI BRAITEH AND DAN NGUYEN

22 March - 5 April 2021

Cure/Rated: Bigotry, a Societal Cancer

 

We are witnesses to the exciting evolution of contemporary art. But this nonstop cascade of creativity can morph into a mind-boggling blur. So how can we keep up? PAVE Contemporary is committed to exposing talented artists, whose work is constantly revamping the creative landscape. Fast-paced and forward-thinking, you can count on PAVE to be ahead of the curve.

 

Cure/Rated: bigotry, a societal cancer is the latest show that promises to impress. The bold title proclaims the project’s ambition; to stamp out the global pandemic of discrimination. And these eleven artists really do have healing powers. Their secret to success? The pure, palpable passion that shines through each testimony to the toxic fumes of bigotry. Their fiery spirit is infectious.

 

One such artist is Alannah Farrel. Although based in New York, their provocative work has universal relevance. Sam and Richard (2019) tackles society’s oppressive gender dichotomy by advocating BDSM. The central figure radiates confidence as they shamelessly flaunt a strap-on pegging toy. The lovers’ genders are undisclosed. As a result, Farrel whips away the safety-blanket of stereotypically gendered powerplay. Forced to look taboo in the eye, that triumphant gaze penetrates the third wall and dares us to condemn consensual kink play. With mere paint and canvas, Farrel has demolished the boundaries of propriety. No prisoners taken.

 

Over in Los Angeles, Carlson Hatton continues Kandinsky’s legacy with his exploration of visualised sound. Stomping on everything is a frantic assault of intense colour, gutsy brushstrokes and random shapes. Like ripping a baby from its crib, Hatton also shoves us from our comfort zone. The chaotic composition has no focal point; our eye desperately roams the canvas in search of a resting place. Instead, we’re met with the leering features of a hideously distorted rider. This twisted figure is almost inseparable from the mental scramble; perhaps because he is its source. Hatton haunts the viewer with a sensual overload that reflects the frenetic energy of life, blemished by bigotry.

 

American Dream (trickle down) is Christian Berman’s thought-provoking exploration of immigration. Born in Mexico, there’s a tantalising mysticism that lures us into his whimsical world… only to be left on a cliff-hanger. With our fleeting frustration, Berman simulates the bitter disillusionment that dispels the American Dream. A brown hand emerges from an ethereal portal, delicately dangling a thread of pearls to two frenzied mice below. Awestruck by this transcendent symbol of success, the mice face a decision: Should they settle for their secure, trivial existence, or follow the perilous, pearled path to prosperity. Berman depicts America’s volatility in an abstracted avatar, in which he fearlessly transgresses traditional perspective. This timelessness predicts the American Dream’s eternal reign, leaving us to mourn its victims of the past, present and future.

 

Still, we haven’t even scraped the surface of this incredible collection. By embracing a wide range of motifs, PAVE has dealt a defiant blow to narrow-mindedness. Cure/Rated: Bigotry, a Societal Cancer offers eleven distinct antidotes to injustice, concocted by eleven ground-breaking artists.