julia greenway

10,000 Roses Later: Sarah Meyohas’s ‘Cloud of Petals’

Sarah Meyohas’s film and Virtual Reality installation at Disjecta asserts the beautiful at a time and with technology we've begun to consider terrifying

By PAUL MAZIAR

It’s easy enough to rely on traditional painting and sculpture to be the go-to vehicles of creativity—to show, maybe, what’s it’s like to be alive in the world, or at least what it’s like to look at it. But what is the world anymore, and are those modes sufficient to show how complex and strange it all is, how “cloud-based”? Trompe-l’œil seems more and more a fat chance. It goes without saying that conventional art mediums and the old idyllic scenes aren’t enough. And, like it or not, technology is as much a part of life today as, well, oil and clay. We’ve seen it all, we’ve felt it all, and now it’s being played back to us in every media there is. But what does it want from us, this tech? Our big data, our little faces, our identities? What do we give up to the people who run it, to get to use or convene with it; who are we now? New York artist Sarah Meyohas seems to be considering these things in her new exhibition at Disjecta, Cloud of Petals, her first show in Portland.

In Cloud of Petals, virtual-reality, film, and sound-scape come together as an orchestration, a symphony that, no matter how mediated (media can be rendered moot in such an immersive experience), is intensely pleasurable. This feat is achievable because of Meyohas’s consideration of living forms in their relation to each other, and relative then to technology and its ramifications. The exhibition explores concepts that hinge upon the supremely familiar, “natural” subject of roses—redolent of “love” to the point of the most persistent cliché, thanks, poets—as well as human bodies.

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