At its core, anatomy of a lie is a sculptural examination of the current political milieu in our country and specifically, the multiple and intricate webs of deception that power its operation. This installation of work invites viewers to contemplate the different and confusing ways information is created, reconfigured and then spread in order to create a narrative that furthers a particular end, or serves a particular ideology. Simply clicking through the different cable news channels and listening to the rhetoric is evidence that “alternative facts” do indeed exist, that truth has become tribal.
Anchored by 7 large panels, the installation uses geometric shapes and a system of grids to suggest the deliberate, manufactured precision in how information is presented and spread. The repetition of the shapes hints at the echoing of a misstatement- if something is said often enough, it must be true. The objects added to each panel serve as either literal or metaphorical devices, permitting the viewer to divine their own visual meaning. Bleached beeswax is used to provide a “skin” to panel surfaces in order to help visually unify the work as well as creating an overall limited palette. Lead type figures prominently, chosen not only for its obvious connection to the printed word, but for its sculptural properties as well. The tweet icons, issued forth by the “bots”, are actual pieces of lead type, melted down and then recast in sand; it seemed only fitting that the icons were created in this manner.
Jim Roberts lives in Westminster, MD. Recently retired after 24 years of teaching, he now devotes his time to working on his ‘59 Triumph TR3a, restoring his 1863 log house and making sculpture. He received his MFA from Towson University in 2000 and is an artist-member of NOMA, a co-op fine arts gallery in Frederick, MD.
Contact Jim at firstname.lastname@example.org
or visit his website www.studio-1330.com