Of The Year II

Annual recaps are a strange thing. Some reads are very good and others very necessary. Most are recaps of recaps of popular culture and other entertainment. Yet, even though it was a solid year for movies, amidst this mass cultural judgment there’s a real question of What are we even doing?

Criticism itself is in a strange place, which might be one of the underlying themes of 2017. The killing of Net Neutrality, the class-war tax bill; even just this past month showcased prime examples of how power has separated itself from the consequence of negative public opinion—some of which comes from usually similar viewpoints.

(Obviously the year should end with an armed uprising in Iran while this asshole makes t-shirts, because that’s just how it’s been in 2017.)

I wonder if this is, perhaps, why opinions are given so much credence in our social structures now; as 2017 has shown, they’re all but meaningless in relation to our system of governance. We can only be critics of each other because those in power are all but admitting they don’t care what we have to say about them, 2017 or any other damn thing in the world.

Posted to Social at 23:13 on 30 December 2017

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Ticket Stubs

At some point soon—possibly after another viewing—I’ll have some things to say about The Last Jedi (though for now, this is pretty hilarious). What is on my mind right now, though, are ticket stubs.

This could be a generational thing, but I have no clue what the cultural adoption of digital tickets is like for kids these days. I have had times in my life where a ticket stub to one show or another was pinned to my wall for years. Do the youths screenshot things or what?

I mention this because, for this Star Wars post, my initial thought was to take a quick photo of the ticket stub, when I realized I didn’t have one. I have a couple texts from Fandango with QR codes attached. Sure, it lets me not stand in a line for 40 minutes, which is worth it, but there’s also a strange sentimental detachment there. Like these public gatherings are getting as anti-social as possible.

Maybe it’s just a desire to stay attached to that sentiment, but ticket stubs and tour posters are usually the only physical experience connecting us to a memory of an event. It’s a strange, small thing to lose that can contain a significant aspect of abstract human relationships to art.

Posted to Social at 21:37 on 20 December 2017

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Welcome to Distorted Perspective. A brief introduction—

—Colin Smith. Born 1982. Some punk rock kid turned multidisciplinary artist & graphic designer-type. An Alaskan in Oregon by way of New England, Georgia, Texas and California looking for hope in the wind. Working in the various languages of truth, systems and identity.

I create works of assembly—by taking a variety of disparate components in any medium and attempting to build a cohesive whole, I look to mimic the disorder and confusion in our imperfect, ever-evolving social structures. I work in a variety of mediums yet try to speak through all of them in the same language.

Contact

E-Mail: colin at distorted perspective
Instagram: @aglowinthestatic, @colin.smith.art

Exhibitions

* - Denotes group show

Elsewhere

Jacob Edwards, a softer world, Carey Young, Matt Dorfman, Neasden Control Centre, void(), Jordan Swartz, Leica Blog, Carola Di Poi, The Baffler, Ai Weiwei, Brand New, Noele Lusano, Dane Pollok, McSweeney's, Artsy, Heidi Uhlman, Design Observer, LOKI, 99% Invisible, Rob Morton, William Basinski, Constellation, Matthew Woodson, AFRU, In B#, This Isn't Happiness, {ths}, Banksy, Morning Breath, Sarah Symmonds, Chapo Trap House, AWAKE, Hyperallergic, Jessica Clary, Manual, Contemporary Art Daily, Jeanne Fries, Shea Serrano, Robert Singler, process.life, Digg, Jacobin, Alex Webb, Jenny Holzer, Art21, Jeremy Okai Davis, David Carson

Colophon

Distorted Perspective was registered in 1999; it has taken many forms since. Work from the project galleries is 2009-2017. All original content is © to Colin Smith. Do not republish without a linked byline.

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