We are proud to announce the first solo show in Tokyo of Dina Gadia, one of the most prominent emerging artist from the region. Gadia sifts through pulp culture in search of recurring themes from disparate sources. Always compiling, her work has been cut out for her.
CLEAR EDITION & GALLERY (Tokyo, JAPAN) is proud to announce the first solo show in Tokyo of Dina Gadia, one of the most prominent emerging artist from the region. Gadia sifts through pulp culture in search of recurring themes from disparate sources. Always compiling, her work has been cut out for her. At each opportunity, Gadia is obliged to SELECT THE RIGHT BAD PICTURE. Her art is a mastery of the overlooked detail removed from previous context, and then placed front and center in the work. Gadia’s work gives kitsch new meaning, and perhaps a historical weight–“this is an image that is tangentially related to this other image; together they mean something completely different.” The artist takes parts from a whole and then juxtaposes. As seen in the work“Growing Figures”(collage, 2015) heads are buried in the ground; pieces of what were once lascivious pin-ups become tourist-y swimmers on holiday. The work transforms a visual aesthetic into a commentary on the said visual aesthetic, subverting the connoted meanings usually associated with the said aesthetic. Through the process of copies made, unexpected distortions occur. A pretty face may into one only Dr. Frankenstein could love. Gadia’s handiwork is a manifest in the obtuse angles, in the overlap of what were once fine features. Each alteration is tongue-in-cheek, and always dripping with wit. Gadia leaves clues and drops the ball on purpose. There is a reflexivity to her work. The artist depicting 2-dimensional characters observing an art object: 1) as though the viewer were flat, or 2) that the exhibited work is similarly lifeless, the subject the middle of an image. A flower arrangement stands in plain sight. It is a picture stolen, the image employed as found object from Ga- dia’s repertoire. That the image is not hers to begin with is immaterial, because the art-making is in the declarative: SELECT THE RIGHT BAD PICTURE.