So yes, I see the world differently, just like they said I would. I am kinder to parents of crying babies on planes. I can’t watch movies where a child is sad, or happy, or away from his family, or pleasantly with his family. Which is of course true I mean, the world is now a place where my heart exists outside my body. People really don’t hold back when it comes to that kind of unsolicited new parent advice, but one common refrain is how differently I was going to start seeing the world. I was told a lot of things would change when I had kids. VOICE 3: There's something natural about, and organic, that's very kind of, you know, soothing and, but, yet inspiring. It's harder to talk about when it's abstract, but this actually is recognizable because it shapes. The colors are coming together, trying to form something. VOICE 3: The colors are coming together like it's the factory floor of color. VOICE 5: The diagonal line cutting through made me think of each half as a hand, and the hands are applauding when they come together along that line, something like that. VOICE 2: Even though you could say that it's sort of cutting all of these fragments down this horizontal line, I see it more like uniting them. That's that's having a relationship or a conversation with each other in different directions. VOICE 5: It feels to me like color that's overtaking each other. VOICE 1: It's almost mirrored like one side is kind of echoing the other, but it's kind of a little off. If anything, the color comes closer to you because of that. VOICE 3: There's a dramatic, disruptive, uh, line that goes through, uh, the work, but, um, the color is overcoming that. And so all these fragments are sort of joined together by that axis. VOICE 2: I see fragments, but they're all connected by a diagonal line that runs from sort of the top right of the print to the bottom left. It could be the sunlight shining through different color gels. VOICE 3: It could be a waterfall of colors. VOICE 5: It reminds me a lot of flames, like flames emanating from a log in a fireplace or something like that. VOICE 1: The colors are in these, like, geometric pieces, and they look a lot like like stained glass. It's more of like the contemporary take on what that era was. I think we can kind of like think of like furniture and like appliances that were mustard colors. I don't know when I see, like, that color teal, I just think of like a kitchen from, like, the sixties and seventies, and then mixed with, like, a magenta and then the mustard color. VOICE 1: It kind of reminds me of the sixties, I think just because the color palette has that, like, more retro feel. VOICE 1: I don't know if that's my eyes just being liars. I don't know if it's mint green and sort of a slate blue. VOICE 2: There's a vibrancy there to that choice of colors. Like, um, it's like a kind of a cross between an arm wrestle and a ballet. VOICE 3: And the first thing that stands out is very dramatic movement of various colors. VOICE 2: They're sort of a crazy arrangement of colors with this magenta and a teal and various colors of mustard and orange. They are a mixture of bright and more muted colors. VOICE 1: Should I describe, like, the colors? Okay. Episode 58: Odili Donald Odita’s “Cut” (2016)
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