“The Psyche’s Gestures” doesn’t disappoint. Though not as massive in scale as the murals that have made him famous, his newest paintings are large, vivid, emotionally confronting, and vaguely grotesque. A human figure, or in some cases, a human head, as in One Point Focus or The Inner and Outer Visible (both 2015), is at the center of nearly every canvas, which tend to be colorful and chaotic.
The human figures might be seen as stand-ins for the artist himself. Given Ziegler’s interest in philosophy and his savvy facility with the system—both with the art sphere, the corporate sector, and the culture surrounding social media—it’s no surprise that he is employing these works as larger questions about their context. “With the capacity to easily generate an image,” he writes
, “and a truth with that image, the value of an image slowly fades, and in turn, so does the truth... we can no longer judge books by their covers because the covers are either so numerous, or so consciously anti-aesthetic, that they evade engagement by camouflaging themselves against those only interested in surface… What happens when we are no longer here to provide the context?”