In depicting anxieties regarded social inequity, Edie Overturf pairs joyful aesthetics as a means of exploring the relationship between text and image.
The image and text relationships in my work depict contemporary anxieties that I hope resonate with viewers. I give voice to frustrations centered around uncertainty, inequity, and deeply rooted political and social problems that appear too vast to be changed by the actions of individuals. Among the shared experiences I depict, I find myself compelled to grapple with imposter syndrome, burnout, and trying to survive the hellscape of late-stage capitalism.
I find gratification in the tension of joyful aesthetics paired with implied seriousness. It’s a kind of scheme that I enjoy as a viewer and a playfulness that I strive for in my work. This approach, paired with a satirical application of symbolism, attempts to connect with viewers who might be reluctant to see my perspective. Only recently, I have begun to value emotional connections with the viewer to the same degree that I formerly valued intellectual ones. I came to this conclusion when I allowed myself to be vulnerable in the work, albeit robed in the protection of poetry or sarcasm. The veil of humor and confidence that my experiences and feelings are not isolated gave me the courage to communicate more directly.
The relationship between text and image, or bodies of text with each other within a space, is critically important in my work. The forms and surfaces wherein text is placed greatly inform its meaning. Likewise, the arrangement of elements can create a collection of intrusive thoughts or desperately frustrated voices crying out in chorus. Brevity and efficiency is important to me, as I am often attracted to antiquated signage that typically displays fewer characters than a tweet. This abbreviation of opinions or observations can mirror the abrupt and meme-like way we communicate. This adds a sense of brevity and plausibility to these otherwise invented narratives. I will always be enamored with the form of the multiple; for its equitability, egalitarianism, and historical association with leftist political ideologies. I hope my work’s revolutionary and deeply personal quality reflects the historical tradition of printmaking in political commentary.
PLANTHOUSE | 55 WEST 28TH STREET NEW YORK, NY 10001