Does good art lead to intersubjectivity? 

Psychological energy shared between two sources cannot be effortlessly explained. Source energy is not inherently intellectual. The process of creating art can suspend time and space. It transforms, awakens, engenders physical impulses, rejigs the banality of the quotidian. 

Electric Kool-Aid Banana is a hybrid celebration of the revisitation of the psychotropic and psychedelic. As mainstream medicine revisits the administering of micro-dosing for psychological therapies converges with long-held spiritual rituals and practices, we explore the trend and reshape our perceptions. 

Psychedelic art is prestidigitation. The sleight of hand of these artist’s methods, images and materials lead to surprising juxtapositions. Sensory implosions of vivid colors and forms; enigmatic, dreamlike musings; inexplicable, surrealistic Kafkaesque visions and more. The artists seek to disturb conventional constructs of beauty and physicality, reshape minds and hopefully lead to an augmented state of being.

And yet metamorphosis takes time and work. “The doors of perception are not so much cleansed,” as Aldous Huxley famously said after his first experience on mescaline, as they are “cracked open and left askew.”

Electric Kool-aid Banana forewarns, as we go hurtling into our very surreal future, we may be wise to reconcile the un-orderly, inscrutable and strange (as the ancients did) by subscribing to the religion of art and its kinship to broader positivity and spirituality. 

By | 2020-12-30T00:05:29+00:00 December 30th, 2020|Marischa News|Comments Off on Electric Koolaid Banana curated by Marischa Slusarski

About the Author:

Painter, photographer, sculptor and designer Marischa Slusarski portrays the geography and inhabitants of a world that, while imaginary, speaks directly to the poetic, whimsical and emotional fabric of our own. Slusarski has always used a variety of media to give form and flesh to her menageries. Her early, deeply textured and painterly works depicting sexualized familial groups of anatomically anomalous forest creatures were grounded in an almost classical approach to stylized realism and muscular painting technique. Her latest works on paper and canvas build from those sensual surfaces of pigment and marble dust, adding other kinds of image-making, including vibrating post-folk line drawing and a black rain of text-based typography transfers, in an approach that is more illustrative, more self-consciously symbolic and emotionally raw. -Shana Nys Dambrot