These three paintings set a foreboding tone, and if your mind is already filled by shadows (mine casted by all those Edgar Allan Poe short stories I've been fingering), you might find yourself connecting narrative dots or creating them by carrying the mood of one painting into another.
I was pondering about all of this when my gaze was captured by a the pastel shapes of Apophenia by Klaus Conrad, and while I was making my way to it I was interrupted by Harry Garner’s «Download», a fantastic rendition of a man browsing through his phone at bedtime, a situation in which I find myself twice a day– if nap-time is to be included. The greenish technological hue that comes off the screen casts a long, looming shadow over and behind the subject, and it’s so long and obscure, so centred in the frame, that it and nothing else is the true protagonist of this composition: in it hides the darkness of which one escapes while endlessly scrolling into the bottomless well of nonsense –empty nonsense– that is social media. I see myself in the poor man that tries to go to sleep by casting a bright light upon his pupils. I'm in this painting and I don't like it.
While seeing myself in it I make the (empty) promise of never doing that again, swearing that from now on I shall go to bed to go to sleep, not to browse. But, how will I keep connected to the comings and goings of all of these unknowns if I leave my phone be? What will get up to if I don’t monitor them? Will they be mad at me if I don’t like their photos or comment on their meals?
In the evening, after a warm glass of milk, another look at these silly ideas occupies my thoughts, and while I fall from abstract to abstract idea, while resting my lean on my pillow, Susan Lee Brown’s colours capture me.