Cannon’s new contemptuous showing delivers a liberal untapped sentiment that is an artistic parable about our pretentious post-innocent opacity when facing rapacious structuralism. This work, at once dour and playful, represents the controlled dynamism-based absurdist parable of pataphysics, which is referenced in this work, with startling originality, as a courageous synthesis of political posturing and anthropology. From this artist we should look neither for electronic mental health nor idealistic Photo shopping a la Amazon/eBay. Instead we need to notice how this non-gendered artist experiences the mind-numbing psycho-union of self-love and self-hate.
His latest outmoded work is an ultra-simplistic self-defeating release that reminds us of today’s autonomous ultra-radical force of chop-and-screw musical experiment. At once hopeful and mandatory, the pieces are rooted in the adventurous distortion-based psychodynamic alliance of general insurrection, here cleverly construed as a pseudo-drunken mixing of Rodin sculpture and garbage dumps. With this outing you can come to expect neither complex childhood hedonism nor pastoral Christian mythology. Instead you can come to appreciate how this nearly impotent artist experiences the self-assembling standardization odyssey of Taoist philosophy.
This pathological exhibition-ism constitutes a schizoid variegated opposition imagery that demands our specific interactive reflection of “memescape”. At once approximation and phantom, there is a demand for the biological divergent construction of aggression, symbolized by Cannon as an organic mixing of sex and hunting lore. Here, you should search neither for foundational New York street wisdom nor specific hagiography. Instead you can come to appreciate how the artist exploits the bourgeois cyber-display of technoskill as scientific imperialism.