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‘Prolonged On One End Rather Than The Other’ is an invitation into Beejay Esber’s labyrinth of ideas, his thought process, his act of creative reimagination – a painterly palimpsests of images. Esber leaps out of his artistic bounds and tries to set a premise to his audience, to speak a language that is simultaneously not language and in order to appreciate his works, one needs to be ready to not just expand the circumference of his imagination but to move the edges in different directions. One needs to view familiar images and instantaneously discard them to trace the progression through out the entire picture. As Esber leads us to his clockwork overfurnished thought process, try to let your mind wander off the lines, fall through the holes and imagine you have an entire stadium to play around.
In his show, Esber continues his tradition of bombarding us with abstracted images, collages and forms that convey multiple schemas of ideas with a more focused and self-aware narratives. The titles of his works were derived from materials he uses for his works: hologram and lenticular stickers and acrylic paint, all of which lay down the basic ingredients to his pieces. Esber executes his pieces by pushing the limits of these materials and imploring the logic he has set for himself. His recurring motif of reflectorized background, geometric patterns and organic forms of jagged spew of acrylics reminds us of the thin line between sanity and delirium, between humor and banality and of our entrapment from the spaces that confines us.
Esber’s works are not mere juxtaposition or abstraction of images and forms. It unhinges Esber’s musings of cosmic landscapes alluded from earth-bound references, where human parts become black holes or craters and later manifest as scrapes of paint, monochrome shapes and inescapable vivid colors. The result of Esber’s paintings takes us back to our own memory as kids; after a long walk in the market; seeing a trail of billboards in highways; and repeatedly presented with images on walls that becomes native to our eyes, we end up with our crayons and pad papers, making sense of the world with limited colors of our Crayola and naively capture everything. His works does not want us to forget about the world outside but to remember it with a hint of infinity, obscurity and non-linear imagination.