More eye candy referenced in Alice Twemlow’s essay, The Decriminalization of Ornament
An important theme echoed in Twemlow’s essay is that ornament IS contemporary and relevant to our time. While Adolf Loos’ diatribe on ornament claimed ornament was backwards, degenerate, and useless and that the lack thereof represented progress and truth, Twemlow argues for intention and and meaning contained within ornamentation used today.
She ruminates that, “The decoration we’re seeing today is particular to the time we live in. In many way it is dystopian. There’s the inclusion of urban, dark, and ironic themes, as evident in Geoff McFetridge’s attitude laden takes on patterning in three designs titled ‘Red Dawn’, ‘Stoner Forest’ (see eye no. 47) and ‘All Yesteday’s Parties’. ”
An article in the Stranger, a Seattle weekly, aptly subtitled this work as “The Patterns of Stoner Surburbia”.
The article’s author, Eric Frederickson keenly observes the juxtapositions within McFetridge’s work: “…general pattern with specific incident, abstraction with representation, decoration with social content.” (italics are mine)
Within these 3 patterned works, expect to see images of sasquatches roaming, long-haired surburban kids biking or gettin’ it on, and beer cans and cigarettes interspersed between the prints, amongst other things. There are social narratives & themes delving underneath the surface of contemporary ornament, as opposed to the strict “beautifying” of object role that ornament played during the Arts & Crafts period.
Stoner Forest” wallpaper by Geoff McFetridge, his studio, and his wallpaper