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100% APPROVED [motion remix]

Museum Link: https://app.museumofcryptoart.com/collection/the-permanent-collection?collection=0xcbf43ef91f5eb6ef28e54978baad078ae03417c1&token=43&page=5

Source Link: https://opensea.io/assets/ethereum/0xcbf43ef91f5eb6ef28e54978baad078ae03417c1/43

Date Minted:  September 17, 2020

Artist Description: TWEETUMS VS. GLITCH sparks of hope for humans. 🌻🐢 100% APPROVED [static original] https://app.rarible.com/token/0xc011559b7b1af6994fbced2c5d7809d8031dacad:10009:0x2c3ef1f3df0bf1409af53f8fc0bafdfe60318e01 https://twitter.com/OoakosiM/status/1270816924776009728?s=20

CohentheWriter’s Commentary:

It’s been a long time since I’ve gotten to see a true “Trash Lord” in action. That’s how artist Ooakosimo describes themselves on their Twitter bio: “#trashLord maker of imaginary oracles via composition narratives.” Glitch Lord is more like it. Regardless, I actually don't think Ooakosimo is doing themselves enough justice with the second part of that statement. These “composition narratives” are way more than just collage. They’re entire imaginary worlds, ones constructed out of a completely internal and artist-envisioned logic system. And they’re all so different from one another —the color schemes and subject matters and chaos are like individual dials that, in each piece, are turned to varied degrees— even while clearly possessing the same underlying DNA. 100% APPROVED [motion remix] represents all of those dials turned up all the way, an energetic mishmash of every possible color with a series of almost frazzled subjects, everything herein veiled by a glowering and inescapable entropy, one communicated as much by the above metrics as by the various motion effects and the glitchy prioritization of aesthetics over comprehension.

I also want to return to the other part of Ooakosimo’s Twitter bio, the part where the artist says that they are a “maker of imaginary oracles.” If we go back and read the ancient Greek myths, the ones that concern the Oracles and Sybils throughout the country, we find that the godly utterings they regurgitated were oftentimes confounding and riddle-like. For example, when the Greek King Aegeus came to the Oracle at Delphi seeking advice about an heir, the oracle was said to have told him “Do not loosen the bulging mouth of the wineskin until you have reached the height of Athens, lest you die of grief.” Whatever the reasoning for being so obtuse, the potential meanings of a given oracular declaration were made vague via the linguistics themselves. Where I think Ooakosimo goes wrong is in deeming their own oracles “imaginary.” Unless we think Apollo was really whispering words into the Oracle’s ear, these Pythian proclamations had no more true potency than Ooakosimo’s frenetic, still-somehow-coy artworks. All oracles are imaginary. They draw their power from belief. Perhaps we can unriddle this one before us. Perhaps we can decode the self-proclaimed “imaginary” oracle before us.

If we’re looking at 100% APPROVED [motion remix] alone, our journey will be a much more difficult one than if we took a certain pre-approved shortcut. The glitchiness in this piece is so intense, it does much to obscure and erase any cohesive sense of the details herein. The subject matter is constantly moving, usually at a kind of 3D angle, as if details are moving further into the screen, into the depths of a deep frame. Every now and again, the frame itself flashes with film-negative colors. This aforementioned movement, and all these color changes, everything that happens in the piece gets “stamped down” in the place it once was. For example,when the colors flash bright and white for just an instant, the black and white colors affix themselves upon the still-moving image, creating a kind of doubling of the contents. Now, imagine that effect repeated every time the subject matter moves internally. As the three-second loops moves swiftly towards completions, all its past states are recorded in the frame beside each other. The visual movement —which is captured in a veritable rainbow of digital colors, though pinks, oranges, and purples predominate— obscures everything but perhaps the green face towards the top-right corner of the piece, distorting it but not quite erasing it altogether. This happens also with a cupcake in the bottom-right corner of the image. And if we squint, we can just about make out the blue-and-yellow words that span the piece’s midsection: “100% Approved.”

Decoding this piece alone is a mighty challenge. But in the Artist Description, Ooakosimo includes links to the original version of 100% Approved, without the motion and stamping effects and stripped of its overwhelming glitchiness. This “true” version is still glitchy, still criss-crossed over with a defunct computer’s blinking bars, still an amalgamation of multiple visual styles –photography, clip art, word art—  but the details are far clearer. That is a face (the artist’s?). And that is a cupcake. The words “100% Approved” do span the frame. And slightly above it, beside the disembodied head, is a hole in the image itself, like ripped paper, revealing the words “Love what you do/ Do it well.” 

The original piece is much more traditionally collage than the [motion remix], which seems to defy collage altogether by pumping itself full of steroids. “Oh, you think this is collage?” Ooakosimo seems to say, “Watch this!” Dumping effects and visual information atop the piece only serves to further obfuscate its meaning and comprehensibility. Is the piece then more analogous to a specific oracle’s proclamation, then, or is it more a metaphor for the oracle themselves? Think: so much detail is poured on top of a legible piece that it becomes transmuted into something almost fearsome, borderline indescribable, intimidating for sure. Ooakosimo has conceivably taken away any recognizability from their piece, and so the Oracle stands here unable to be understood, made hidden and mysterious by their own hand. 

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