Napoleon

About Deborah Oropallo’s work, the brilliant Kenneth Baker says the “grounds of Oropallo’s pictures suggest a space flooded with fluorescent light. Dot patterns intrude, linking the work to old comics and uses that predecessors such as Roy Lichtenstein and Sigmar Polke made of them.

But by the clinical lighting of her images and their relentless, though bloodless, insinuation of violence, Oropallo seems to intend a kind of anatomy lesson—a theme with a distinguished artistic pedigree—with the common culture serving as patient, or cadaver. Her pictures probe for the unlocated gland that governs appetites for mediated sex and violence—including far-off wars—and that anesthetizes us to their spiritual wounds.”

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