Pink sea with pink waves and pink boats

Result #1

. A lonely halo of sea and sky above each rectangle looks like a weirdly lit beam of light.The message is evoked in the other works as well: a group of smooth, close-knit pieces, including the classically beautiful illuminated diptych, No. 7, 2002, in which a spiraling cascade of lights is suspended in midair, and Preglesteins Virtuoso, 2005, a cubic assemblage featuring a colorful grid of lights that bisect and loop like an endless candy-striped springboard. On the underside of the diptych, Württembergischer Landes (Walking Lines), 2003, a card table and a pile of wooden pallets that have been smashed into smaller, more beautiful parts, could be seen. But there was no way to read the information in these small pieces—in particular, not the amount of time it takes to build these pieces, which are on the order of a nail, or the way the drawings show in the museums. In the midst of them, we had to rely on intuition to understand them, which made them the most original work Ive ever seen.

Result #2

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Result #3

is a movie of the wild imagination, its emotions evoked by a mood of menace and awe. The floating worlds are so evocative that one could not but feel as if one were floating in them. So far, so pixilation, which can be expected to be a source of great tragedy.Yet theres a chilling sense of dread in this work, too. Its somber in its mystery. The shows title, from a popular early childrens book, set up an imaginary home for the two artists, one pictured as a mermaid and the other as an old man in his forties. Like all kids, Hooper and Naidus share an interest in sea creatures: How else could you explain them crossing the border between heaven and hell? The sea is the metaphor for all life, not just life that has taken the form of cartoon characters. These two works (and the last, a large photograph from 2004) present little girls swimming in the waters of Northern Ireland or playing in an underlit sea with the occasional dolphin, or floating with the legend of Don Quixote in his coffin.If anything, Hooper and Naidus may seem rather obsessed with the perfect sea. In one series, a mermaids pelvis floats in the center of the canvas, its belly partially visible, while the artist and Naidus hold hands. One picture in particular, from 2004, shows the artist embracing his lover, the poet John Daly. The choice of song seems to be a tribute to Daly: For Naidus, life is a song of bliss, and the mermaids embrace is a celebration of the sea. In his other work, Naidus and Hooper appear to be playing a game of "remember the future—a kind of imagined history, one that, after all, is still in the future.

Result #4

is a fine design with which to design a new great city. Perhaps it will be the dream of a future to be able to dream of a new Manhattan Beach.

Result #5

Pink sea with pink waves and pink boats" in an earlier work. The most recent show, at the Wallace Foundation in New York, was titled Strawberry, and featured a single black-and-white photograph, Khao Kung, 2004. The photograph shows a quaint, American-style seaside resort in Vietnam—a primary community of the North—that has been the site of various military, drug, and cultural experiments. Khao Kung seems to be in the midst of one of these experiments, and there is an ominous shadow hovering over it, a sad, unfinished place.The exhibition was dominated by those photographs that dealt with the deaths of its citizens, in particular those of students and of their families. The large photograph titled Air Force Personnel, 1996, was titled in part because the photograph shows young men in uniform who are holding guns to their heads and looking at us intently. The soldier faces are unidentified, and the color pink indicates that he is a member of the Vietnamese air force.The viewer was drawn into the background of these images as a viewer by the juxtaposition of the figures with their painted colors. The feeling of neutrality in this light, austere light could be seen in the juxtaposition of color, with yellows and reds contrasted with mauve, olive, and pale pink. By contrast, the dark sky above the image was quite luminous, and only a few people could be seen in the background. The implication was that these soldiers, who are never seen in the photos, are alive and even to some extent related to their environment. The sky above the background was bright and clear; it was the same sky over which the photo was taken. The only light came from a small, close-up photo, titled Blow, 2004, of a street in Vietnam.