The exhibit consists of mostly large-scale canvases and paper collages depicting cows, pigs and chickens. Given the artist’s explorations of gender identity and female power roles in pop culture, one might be tempted, at a distance, to see this show as critique of meat eating or mechanized agriculture. It is neither. Rather, it demonstrates, without preaching, that the food on your plate was once meat-on-the-hoof. To drive home that point, she and Goldin staged a dinner party in the gallery where attendees ate meat produced on their farm surrounded by pictures of the activities that enabled it.
to viewers that these are no ordinary pastoral scenes. Evidence lies in bursts of shredded pixels that litter the canvases, looking like bits of scrambled video streams. They keep us rooted, however uneasily, in the hybrid nature of Oropallo’s practice, which, in its mix of messiness and calculation, brushwork and spray-painting, has close connections to Albert Ohlen whose abstract works also contain farm animals.