Another artist in Bloom - Van Arsdale latest in project
showcasing emerging talent
By Josef Woodard, NEWS-PRESS CORRESPONDENT
ART REVIEW - Friday, August 10, 2007, Scene
Magazine, Santa Barbara News-Press
Games are clearly being played in
a corner of the Santa Barbara Contemporary Arts Forum, but not necessarily
the ones that might be expected. James Van Arsdale's "(Safe Inside
My) Green Zone" is
a brightly colored installation that references board games, with shapes
splashed genially on the walls. Overall, the effect is that of a conceptual
piece playing fast and loose with notions and imagery of safety, military
volatility, party-time and leisure in the face of impending doom.
Van Arsdale, Austin, Texas-born and Santa Barbara-based, is the latest
to be featured in the Forum's Bloom Projects series, dedicated to emerging
artists. And, like many of the artists who have landed in this corner,
he brings a playful irony and conceptual juxtaposition of light and dark
to his work.
This art is not about feeling safe. On the contrary, it's about the anxieties
of life post-9/11 and during the country's extended engagement in the
Middle East. Of course, the "green zone" Van Arsdale uses is
a military term referring to a presumed high-security area within a military
hot area, such as the one in Baghdad.
This artist's crafty ideas are evident even before entering the gallery
space. In the window space outside the Forum, Van Arsdale shows a mock-minimalist
series of cast plastic objects. They look like rainbow-colored Popsicles,
but are shaped as hand grenades. This art is, pardon the pun, loaded.
Dark and strangely enchanting provocations continue inside the space.
Red, green and orange plastic pieces are placed on shaped wooden boards,
as if a relative of the Life board game. Large shapes that in a more
innocent setting would be generic tree shapes instead imply nuclear clouds.
Wavy painted forms overlap the walls, suggesting pleasant decorative
touches, questionable vapors and implications of artillery's aftermath.
Mixing childish games and toy chest-suitable artifacts with the portents
of war might seem like a clever ploy, but a ploy nonetheless. Somehow,
though, the artist applies enough craft and savvy to soften the blow,
avoiding a label of too obvious.
For one thing, Van Arsdale's art emphasizes the point that the sinister
aspects of war gaming are endemic in America, in the video-game industry
and in actual war rooms. With the recent advent of robotic bombing raids
in Iraq, the connections between virtual, joystick-driven mayhem and
actual death and destruction are all the more chillingly aligned.
Van Arsdale's scary, cheeky art is right on time, and in sync with a
world where fun and fatality are linked more than could have been imagined
years ago.
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