John Zotos reviews the exhibition "Candy Factory" by BREYER P-ORRIDGE / HEIST.
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Breyer P-Orridge took the originals as part of a ritual performance act. They look like two images of knees and perhaps a torso with breasts, but in soft focus without anatomical detail or gender specificity. In semiotic terms the Polaroids are the referents and the silkscreens, completely transformed through the process, become new entities in the form of signs. These semiotic signs are imbued with their own aesthetic power and ability to signify desire and its attendant emotions.
Each piece (all untitled and dated 2020, the year of P-Orridge’s death) begins with a base color, drawn from red, violet, blue, green, yellow, and orange, which is then overlaid with the actual image done in one of the remaining colors in sequence. In a stunning arrangement of twelve of the 22 by 22 inch pieces, three rows with four silkscreens each advance along the wall. Each successive image is tilted ninety degrees, creating a visual melody." John Zotos, March 11, 2023 VAS