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Aberrant Art

Dinner Music

Every child is an artist. The problem is how to remain an artist once we grow up

Pablo Picasso

The recent tendency to overcome artworks and their masters, even if still considered with some suspicion, is certainly an understandable human attempt to get rid of the heavy burden of some icons that, still today, look at us from a height always out of reach, as if, after them, nothing more “so great” could be made. So what better remedy than humanizing and updating that greatness, making fun of its names and works?

That’s what Barry Kite does, through his photo collages defined by himself as Aberrant Art.

The Yellow House, Grizzly Season – feat. Self-Portrait (1887) and The Yellow House / The Street (1888) by Vincent van Gogh, and more
Mona Loading – from Mona Lisa
Neoclassical Gate Crashers – from Bal au moulin de la Galette by Pierre-Auguste Renoir (1876)

“My work is based on found iconographic imagery from painting, photography and popular media initially via discarded books and magazines but of late: the internet. This imagery is deconstructed, then re-composed from different sources as parody with the important blending of and interpretive tension of word — via title — and image. The technique is based on using imagery as language to build context as individual words are combined to create ideas. Uncommon juxtapositions and themes are sought to provoke thought and discussion. The less common, the merrier.

A little art literacy is helpful, as many implied narratives draw on historic reactions and interpretations of various employed artists and works from their own era. Prior history with a certain painting or photograph always colors one’s interpretation. Being aware of the fact that an artist went blind or crazy or bankrupt — you know who you are — during his productive period, or that a work was once critically excoriated always adds a certain flavor. My works are narratives. The challenge is to tell a story without words: using images, colors, composition. Only the words in the title are permitted to assist, or provoke, or mislead the viewer–drawing on that part of the brain dealing with abstraction”

Starry Night – feat. Self-Portrait (1887) and The Starry Night (1889) by Vincent van Gogh and Mona Lisa
Monet at Starbucks – feat. Cliff Walk at Pourville (1882) by Claude Monet, Le Déjeuner sur l’herbe (1862–1863) by Édouard Manet, L’Absinthe (1875-1876) and The Star / Dancer on Stage (1878) by Edgar Degas, Au jardin – Sous la tonnelle au moulin de la Galette (1876) by Auguste Renoir, and more
Gothic Fatal Encounter – feat. American Gothic (1930) by Grant Wood
Austrian Expressionist Nudes at Lunch – from Lunch atop a Skyscraper (1932), feat. Egon Schiele’s nudes
Peasant Wedding Party Crashers
Blue Monday – feat. Self-Portrait (1887) and The Night Café (1888) by Vincent van Gogh, Mona Lisa, and more
Girl with Pearl Earring and Extra Foam – from The Little Street (c. 1657–1658), feat. Girl with a Pearl Earring, The Milkmaid (c. 1657–1658) by Johannes Vermeer, and more
NightBucks – from Nighthawks

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