Numerous contemporary artists deal with memories of modernism as built ideology and visions for a new utopia, and memories of postmodernism as its oxymoron, positions that critically assess the legacy of modernism, the failure of political ideals.
in a democracy what are you doing by privatizing infrastructure? You are disengaging politics from the market. You are taking away the last weapon that a poor man has, which is his vote (found image, foam, earring, and Marlboro box, 2010) is part of a set composed by sixteen found images – in a derivation between collage and sculpture – about human debris. Vincent Troia incorporate found images (damaged paper materials, dirtied textile scraps, and other street sourced findings and fold them into various polyhedral shapes) to produce collages/phrases as if they were condensed poems that reflect the history and present of their hometown. Accommodated in a
white space in Deptford High Street, between a deserted prayer store and a thriving building supplier, the works describe the private emotions of a particular urban environment – Deptford is well know for its vibrant street market, and South East London is becoming a hub for the arts and music scene, attracting both artists and collectors –, while contributing to discern the contemporary visual disorientation through its own contradictory terms.
