|The Splintered Landscape||by James Bohm|
In Untitled 2002, a sequence of generic signs, road and horizon - the archetypes of landscape painting - are carved into the wooden support that is divided into two panels. Pictorially this road leads to nowhere, there isn't much happening on the horizon and the green outline of a road summons up maybe an oblique reference to fields. All further landscape details have been omitted so that these essential motifs should translate themselves into a unified pictorial statement. Somehow though, things aren't quite functioning in that way. Firstly the surface begins to reveal itself, its material history begins to speak louder, we are disrupted by its diptych profile - they can be separated, reconfigured - other discourses start coming into play, gradually the road starts to open up into other 'landscapes' not anticipated.
Picca has stated that we might be 'tourists in our own environment.' On a theoretical level, this rather anxious statement implies an endless circulation among the illusions of 'center' both metaphysical and cultural, spaces forever sanitized and cleansed for our consumption. We call on the Generic to be the guiding factor in the processes of collective recognition, a mark in which to stabilize identity. In practice these paintings attempt to reproduce those generic illusions via various means and modest fantasies. His paintings operate as tourists of certain cultural landscapes, exploring these different territories, adopting (momentarily) their critical positions so as to let them merge and conflict.