The first Horseman of the Apocalypse is presented as a singular installation. Inspired by Walter Benjamin’s essay The Work of Art in the Age of Mechanical Reproduction, S.I.S.C.I: Slobbering Idiots Striving to Consume the Image brings the idea of conquest into the world of image perception by introducing a corollary between conquest and consumption. When we consume an image we visually digest it until we fail to see it any longer; once we have had our fill we move on to the next image to consume. It disappears as a visual phenomenon and transforms into a mental concept.

Understanding and knowledge are forms of consumption. Through the act of uncovering a visual mystery (a striving to comprehend an image), we are consuming; attempting to conquer the visual puzzle the artist(s) has presented, attempting to conquer our own curiosity, attempting to find the safety that understanding can provide. By impeding the viewer from seeing 90% of the image with shiny black vinyl adhered to the plexi-glas in front of the image, the viewer is unable to achieve a satisfying level of understanding; safety is out of reach, we cannot fully consume the image. The installation is purposely arranged so that the viewer is tempted to engage in a futile attempt at this act. Participation by the audience is crucial to its existence. The reflective surface of the black vinyl allows the viewers to confront a mirror reflection of themselves as they become hungry voyeurs.

The Corporation specializes in control and consumption. S.I.S.C.I. attempts to leave the viewer questioning the detrimental effects that control and consumption have on our experience of reality. Perhaps there is more pleasure in not consuming? Can more be gained by not conquering? Is there more to be achieved by experiencing anticipation and desire of that wished to be consumed?