According to Mikhail Bakhtin, the poetry of carnivalization is the poetry raw, crude, authentic, and always in transformation and in progress. The surrealistic visual diary that the Indonesian artist Iabadiou Piko composes is carnivalesque, with its bold streaks, its contrasting color blocks in the "Monster Mind Series," wild, primitive, and forever on the road. The pink-bubble-like existence in the painting "Looking for a Way Out" of Danish poet-painter Kaspar Bonnén is carnivalesque, mystifying a material living space. The American artist Brad Darcy's "Petals," "Square Sky" and "Wave#1" is also carnivalesque, expressing the Baudelairien correspondances with his childlike regard and carefree posture, universal while personal:"Nature is a temple where living pillars... perfumes, colors and sounds correspond."
〈Notebook｜筆記本〉2019，Oil on canvas ｜油料於畫布，115 x 95 cm｜45.2 x 37.4 inches
〈Looking for a Way Out｜尋找出路〉2019，Oil on canvas ｜油料於畫布，115 x 130 cm｜45.2 x 51.2 inches
〈At the Psychologist｜ 當在看心理醫生時〉2019，Oil on canvas ｜油料於畫布，180 x 135 cm｜70.8 x 53.1 inches
"There is another world. Yet, it is in this world," says Paul Eluard. While Brad Darcy extracts the resonating sign from collective subconsciousness with automatic drawing technique and childish innocent graffitis in the "Missing Link," creating a sense of loneliness by simple geometric graph and separated black and white, in his "Hover with me" the dreamy stick figures conjure up the purest wish deep down human beings.
〈Funny Face｜逗趣的臉〉2020，Ink, watercolor, pencil on paper｜墨水、水彩、鉛筆於紙上，39.4 x 28.8 cm｜15.5 x 11.34 inches
〈Wave #1｜海浪（一）〉2019-2020，Ink, watercolor on paper｜墨水、水彩於紙上，61 x 48.3 cm｜24 x 19 inches
〈Marked Up｜標示〉2020，Ink, watercolor, pencil on paper｜墨水、水彩、鉛筆於紙上，61 x 48.3 cm｜24 x 19 inches
If the paintings of Darcy summon up a quiet carnival of authenticity, the carnivalesque of Kaspar Bonnén is poetic and of dialectic. It is like a flick of aura, a game of mirrors. On the one hand, spectators are compelled to question: is the whole picture a notebook, or the notebook in the picture the notebook? Or is the notebook in the notebook in the picture the true notebook inferred in the "Notebook"? On the other hand, in "At the Psychologist," human's visage is mixed with space's visage, provoking people to contemplate: is it a blurred scene that the patient reflects on in the middle of the night? Or is it a scene distorted and filtered through the eyes of the patient here and now at the psychologist?
A picture has a frame; space, existence and their possibility have no frame, just as in Piko's "Quarantine Portrait of a Lady" and "Quarantine Portrait of a Man," rough black strokes push other colors to the back of the paintings. Yet, the two vibrant eyes like a clay, primitive mask reveal the unrestrained vitality of human spirits in the long course of time, with the volcanic energy specific in the South Eastern Asia's earthquake zone. Likewise, in his "Quarantine Head Series 1," inside the bitumen outline, the green plants, human bodies,swimming fish and unorganized, modeless images jostling and twisting expose the dynamic struggle, the contradiction and dancing in the static quarantine, representing a violent carnival before spectators' eyes.
〈Enam Gunung｜六座山〉2020，Acrylic Bitumen Oil Bar Marker Relief Paint on Linen Blend，壓克力、瀝青、油畫條、馬克筆、浮雕於亞麻混紡，
160 x 150 cm｜63 x 59 inches
〈Dua Arah Tiga Sisi｜兩路三面〉2020，Acrylic Bitumen Oil Bar Marker Relief Paint on Linen Blend，壓克力、瀝青、油畫條、馬克筆、浮雕於亞麻混紡，
160 x 150 cm｜63 x 59 inches
In their own way, the works of Iabadiou Piko, Kaspar Bonnén and Brad Darcy blow out the pre-existing structures and prejudices, catching the encounter and conflict at the boundary of the interior and exterior, subjective and objective, imaginative and realistic, and explore the freedom between respectively. They compare, contrast and clarify each other's authentic and carnivalesque essence, as Bakhtin's dialogism implies: the heteroglossia which coexist, complement and converse will open our eyes to a broader sight.
文章來源：Nunu Fine Art