"X never marks the spot." -Indiana Jones |
Sure, what people noticed first was the massive scaffolding surrounding a large lone building, a brick of red in a crochet of scaffold rust. Especially nice against the Spring-greened dike and trees stretching out behind.
Then, perched in a pinnacle of empty panes, there stands the artist. In the crux of the X, smack-dab at scaffold-center stands an iridescent neck flanked by grey shoulders, rising from sleekness against darkness of the warehouse cavern. And atop this oiled rainbow of a neck, a head sharply grey, whetted by an eye piercingly orange, an orange borne of the saturatallucinated union of the brick and rust all around.
The artist glances one way then the other over and over, one eye always focused right on you. Nobody can explain how the pigeon simultaneously looks into each eye of everyone below, but it happens nonetheless. Meanwhile, the profile either reflects or parallels the pigeon's clever pecking of a pigeon-profile void in the pane to our left. Juxtaposition of the breast curve--a sublime, eloquent line depicting beauty all puffed-up and proud--with the shattered lines converging at the head (is that a woodpecker?) is nothing short of brilliant.
Meanwhile, above and to the right, we see Pigeon's nod to the landscape. A mountain profile appears in the broken corner pane. Sophisticated as this installation surely is, a moment of simple representational art is not beneath it. A certain amount of self-mockery appears to be part of this Scottsville aviant garde piece as well: the artist's feet are a hilariously awful color. Just as the eye-orange clinches the artist's brilliance as a colorist, the scaly alcoholic-clown's-nose colored feet establish this pigeon as a humorist.
So, Bravo Scottsville Pigeon. You took a ruin and made it a font of creativity. You showed us that Pigeon-Americans are not just garbage-scrounging winged rats, and I think you showed those snooty NY birds a thing or two about real art.
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