Disco Sale is about giving credence to the decade of my formative years, the 1970s. In the recent past, the attitude towards the 70s has been a sort of embarrassment; embarrassed about the fashion and listening to and liking Disco. A camp aesthetic has been imposed on it in the 90s giving it a chic and nostalgic quality suitable for retrospection and revival. In the 90s, Disco is seen as a source of humor and camp aesthetics losing its stigma primed for revival and nostalgic performance.
The pieces in this body of work address the evolution of how I think and feel about the 70s and specifically, Disco. The various shroud-like prints shows Disco’s altered form, abstracted to a mere imprint in my mind. These shrouds also act like evidence or a residue of entombment, to memorialize what is dead. A group of color prints presents the viewer with a re-imaged/re-imagined 70s. The revival of things Disco has become a flat simulacra of what was once vibrant and uninhibited lifestyle. The use of popular fabrics of the time – nylon, rayon, and polyester – references synthesis and fabrication, while the choice of well-tailored suits harkens form and silhouette. It is through synthesis and structure that the Disco ball, the everlasting symbol of the time, is transformed into an organic and cancerous growth, a possible comment on the results of excess and decadence.
Another set of pieces show the same images photo-transferred with the surface manipulated with gel medium. Images of the past continue, leaving a trace but require a medium to clarify and preserve the specific memories and preserve the nuances of experience from fading away. Yet, every performance of remembrance becomes ritualized accelerating the forgetting of specificity and nuances, ironically being replaced by the same apparatus developed for its remembrance. These are desperate steps to recount the stories of the 1970s. It’s the final mark down. Discounts will no longer be accepted.