IdiotsGuides: Virtuoso Master Series : Artist Spotlight: FAWN ROGERS

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It could be easily argued that perhaps one of the more wondrous aspects of the human condition on this earth, and in this life, is the sudden manifestation of a previously unrealized truth, right before our eyes. This effect can best be illustrated through the behavior of art appreciation, by way of artistic expression. TheIdiotsGuides.com holds this effect in the highest regard. As such it is the prime motivator in the creation of our latest installment called the “Virtuoso Master Series”.  We are honored to have Los Angeles based Contemporary Conceptual Artist Fawn Rogers to represent our first Distinguished Guest, by way of the world’s premiere of ‘Virtuoso Spotlight’.

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(‘Violent Garden’ – 2016) /  (Duplex Nails, Roofing Nails, Box Nails, Common Nails, Finishing Nails, Spray Paint, Oil Paint, Plywood, Prism Light)  

The exceptional ease, and initial impressions of the unique, and uniquely unparalleled, Fawn Rogers, were among the easiest to identify and establish in as long as I can remember. Her delicate, and slight feminine frame belies an extraordinary hidden resolve, laden with an inherent soulful toughness. Her long flame colored tresses, emit a quasi-heat, burning with the familiar tinder of artistic conviction. Speaking of ‘familiarity’… Rogers’s coiffure aesthetic demands that even the literary consumer of modest sophistication, notice the ‘Rapunzel-ian’ analogy.  

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(‘Untitled’ – 2017  from the “Spirit Casket Series”) /  (Roofing Nails, Box Nails, Common Nails, Finishing Nails, California Soil, Wildfire Scorched Earth Ash, Miscellaneous Binders, Plywood) 

Rogers’s Artistic Expression lends a critical eye to those who may have neglected their own. Her voice carries the unmistakable breath of earnestness. To be clear, her message isn’t exactly subtle, however, it is effective, and effectively profound. I found myself momentarily transfixed, briefly entertaining thoughts of theoretical human machinations.

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We tend to live in a universe where the ‘look’ of  the artist and/or artistic type is a readily available product for Consumer Consumption, a concept which has long been known as complicit co-conspirator to the crime of pre-fabricated consumerism.  Fawn Rogers’s work is proof positive reminder of the fabulosity that conflates artistic membership with the hallowed halls of the Trendsetting Original(s). In speaking with Rogers it became instantly clear that her motivations and stated ambition of thought had everything to so with the groundbreaking (if not controversial) artistic concept of ‘Pain Domination Theory’. The genesis of this critical theory can be found along the footsteps of human beings and their age-old entanglements, controversy, and pain causing static with the natural environment that they share.

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(‘Untitled’ – 2017)  /  (Gold Painted Metal, Cardboard, California Soil, Miscellaneous Binders)   

It’s the War for the control of environmental harmony that hangs in the only balance that matters. The balance between Mother Nature, and the people who seek to manipulate her bosom, is both ‘reason for’, and ‘because of’, the core attention seeking responsibility found in Rogers’s artistic work-product.

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(‘Untitled’ from Roger’s “Spirit Casket Series”)  /  (Plywood, Mirror, Face-Mounted Electromagnetic Spectrum Photographs of Light)  

Fawn Rogers’s view of the world has a distinctly Deconstructed Rainbow feel to it. Speaking forcefully to the anthem of the age old fight between Humanity and the environment that surrounds us.  An environment that we manipulate as we arrogantly see fit, while fatefully choosing to ignore Mother Nature’s Wrath.

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(‘Untitled’ from Rogers’s “Visible Light Series”  2012)  /  (Box-Framed, Face-Mounted Electromagnetic Spectrum Photographs of Light)  

Through the skillfully brilliant use of hammer, nails, and unique soils from across the earth. Fawn Rogers exhibits an Environmental Indulgence that is but one among several variations of dominance at work, while on full display.   

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(‘Untitled’ from Rogers’s “Spirit Casket Series”)  /  (Plywood, Roofing Nails, Box Nails, Common Nails, Finishing Nails, Drywall Nails, Duplex Nails, Masonry Nails, Siding Nails, Found Misc Metal Pieces, Screws, Spray Paint, Oil Paint.  

Witnesses to her work will likely find a largely worthwhile exercise in conceptual expressionism, that attempts to seamlessly combine sociopolitical earnestness, intellectually minded element manipulation, while deftly navigating the oft revered hallowed ground of complexity in understatement.    

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(‘Untitled’ Group of Caskets from Rogers’s “Spirit Casket Collection”)  /  (Plywood, Mirror, Face-Mounted Electromagnetic Spectrum Photographs of Light)  

As our readers wander into the intrepid house of virtuoso pop culture they will likely find that Fawn Rogers has correctly identified an understated niche living among the many aspects of grievance within the human condition. Her personal aura carries with it a remarkable lack of pretense, which is surpassed only by her emotional earnestness.

Perhaps the bass-line tenor which best typifies a Fawn Rogers work, can be found in the Sober understanding that Art, as in Life…Can, and often Does, Punish us all.  A Punishment exacted simply by Condemning us to navigate the profoundly tangled web of Consequences…that our decisions Manifest. Each one. Every time. No exceptions.   

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It’s the editorial opinion of IdiotsGuides.com, that most discerning human attendees to the September 9th 2017 Fawn Rogers “Violent” Exhibition at Hollywood’s LODGE Gallery 10124  N. Western Avenue LA CA 90029  will find themselves equal part witness, to an Artist’s expression that carries the very real potential to claim a rareified position on the mantle of Cultural Significance. 

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Addendum: The Lodge is hosting a Live Q & A Discussion between Lita Albuquerque and Fawn Rogers a discussion forum regarding ‘Violent Garden’.  At 4:00pm Saturday afternoon September 30th in the year of our lord 2017.

 

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