Don Porcellas creations are at first merely funny and sweet, childlike and colorful and funny. But not on the second. But after the series.Two subjects of the American artist will be shown:Once fantastic, naively childish, encaustic works - what is for heaven's sake, we prefer to declare the same: Encaustic is a painting technique, the burn from the ancient Greek word "derives. Bound in wax color pigments are applied to the hot background medium. The technique has a much longer history than the oil painting. It had its heyday in the art of the Greco-Roman antiquity. In the presentation of the artist's own ideas were materialized with imperishable fire burned on the canvas. And secondly: Funny handicrafts, to be their own raw colorful pipe cleaners seem. This is definitely Don Porcellas hallmark. But that alone it can not be reduced.
Over the heads of the gallery visitor hovers a vulture (yes, from pipe cleaners) with loot, also from pipe cleaners, in the catches. Don Porcella installs itself as such - recognizable by the huge black horn-rimmed glasses - and as a "homunculus", carried away by a giant bird.Is Don Porcella followers of Zoroastrianism? For example, adherents of this religion can still occurring in Iran on high towers in the open sky burial. Carrion-eating birds are attracted by the bodies which they suffer (in part) to heaven. An apotheosis (deification, ascension into heaven), in which something is helping hand. Or just wants Porcella less transcendent flights of his lifetime, as a popular artist, for example? Questions that come to mind, as so often afterwards.
On sexualized work as they were still seen in the Alphonse Berber Gallery / San Francisco, is at Cain Schulte fortunately largely dispensed with - as far as could be seen. A lost, green heads, apparently from the scaffold rolled in a banana-eating monkey troop. Adam and Eve as the "Tree Huggers" under the apple trees - that may be more hints in this direction. Indeed, a review of a "humorous dialogue," if you will.
Purely positive and playful only child is clearly not, anyway. Because behind it lurks at least one other dimension, the fear of terror. Fear of irreversible environmental destruction, fear of the possibilities of man. A frightened, playful, playfully warning dealing with the condition humaine. This has pedagogy. We would almost say this is art education, as they should be.
Cain Schulte GalleryWinterfeldtstr. 3510781 Berlin near (Winterfeldtplatz)