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Udomsak Krisanamis and Fred Tomaselli recreate the dizzying visual assault generated by satellite TV, computer advertising, and video games. The detritus of everyday life, both experienced and found, form abstractions of accumulation. Krisanamis's Heineken, 2000, is filled with transparent Asian noodles, old exhibition posters, and supermarket receipts, becoming a quilt of this Thai artist's experience in his adopted home of New York City. The strings of pills, leaves, eyes, hands, birds, and fire – real, collected, and drawn – in Tomaselli's Echo, Wow and Flutter, 2000, compose another kind of “hyper-real” abstraction. The general design resembles sound waves, the pills are vehicles to altered states, and the collected body parts are receptors of stimuli. Once a part of the California punk scene, Tomaselli’s nod to psychedelia echoes the increasing bombardment of today’s visual stimuli.
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