SOLAR GARDEN STUDIOS  

     


UNDERGRAD WORK
2022 +


WORK & PERSONAL
2019 +
 


   



  –> ? <–

Jesse Harmon


SOLAR GARDEN©



3RD SEMESTER: TARYN SIMON BUREAUCRACY & SCHIZOPHRENIA




    Taryn Simon was born February 4, 1975 in New York City and has fundamentally resided there —— now with a studio —— all of her life. She was raised by overly curious, openminded, and a slightly non-conformist mother and father (particularly, the father, a literati and intelligentsia who had been a figure to her showing the beauty in­—un-categorically—unbias observations of the world; searching for the deep truth and reasoning in the bizarre, misleading, controversial, murky and all of the rest of them; from all sides of the spectrum; she was greatly wired by their ways of thought and perception).

She officially received a Bachelor of Arts at Brown University in Semiology (the study of symbols and their interpretations), originally beginning with Environmental Science, with intermittents of furtive, non-paid RISD art classes on the side. Since then, weaving her vast interests of the world into her uncategorical style and way of thought, she has become an artist—a multidisciplinary artist, for that matter.

Taryn Simon does not necessarily have a concrete visual style; she is renaissance in that way, adapting to whatever seems to best fit the message she is trying to send out/get across. Her work spans photography, performance/interactive exhibitions, architectural sculpture, writing, and of the like. The materials differ tremendously depending on the project at hand—she is able to work in a myriad of mediums—catering to whatever aura and atmosphere she wants to emit.

However, there seems to be one common denominator within the scheme of the polymath’s ever-dynamic work­—something that transcends the coded branding/style artists seem to have, like a single strand of thought spanning years, or an almost close-minded hyper-fixation with a relative degree of thought: Taryn redacts this common stagnant paradigm and seems to explore whatever is relevant to her in the moment, one collection could be about the consumerism and materialism that is so rampant in our world and documents that through portraits and photographs, at other times she could be connecting similarities within various cultures and how each express solemn mournfulness and lush melancholy­; using monolithic vessels/tubes to reach out, and communicate with higher deities through.


The multi-disciplined Artist, (blooming a renaissanc-ical, multi-prowess) generated by her dynamic mind and unconstrained thought process—she appears to not be suceptible to a certain category or orthodox; willing to adapt to the environment and context with her ever-unfiltered mind and to perform a more immersive and deep understanding.

When establishing and foundational-izing a new branch of her work, Taryn has mentioned that she sees the inconsequentially predetermined and, without a naive judgment before she passes on to the next thing like the general population does, she travels deep­—tangentially—into the rabbit hole to find a message or cog that has been in hiding, something important to the puppeteering to our world that has been lurking for years around the people, crepuscularly, day-in and day-out without notice.

Looking for the heretic and aberrant (when there is a state of bedlam ignites) revolving around some trivial or political uproar, she sees it as a mask of sorts; she goes the opposite direction to where the vortex is pulling the people towards; fights against the maelstrom crowd to see the sniper on the roof (*metaphorical)  /where the strings are being pulled from.

Because of the impatience, the fast-pace hive-mind speed of the prevalent tumult first worlds find themselves in these days, we never are able to fully grapel an instance; we keep moving, unmindful of the slow-drip poisons...

What Taryn does so beautifully, is: takes a snapshot of the so-unconsciously-believe unconsequential or unconcerned or the hidden in plain sight unveiling to the population the real clockwork that is rine-ful and so juicily orange exterior

Throughout a lot of Taryn’s work, there seems to be a sense of banality and insipidness of these strange and so-veiled enigmas portrayed throughout our society, almost as if she is just illuding to how deep the rabbit hole goes for each and every one of hte projects but et never fully takes you throughout the multi-branched issues—she creates an index for further self-investigation and to be truly able to harness the vastness and fractally-overwhelming discoveries she introduces, it is necessary, for furthering, to require self-discovery as stage two. It appears to be an unannounced message in her work that to fully grasp as a human these treacheries, one must step into the unknown, untethered, to get a catered, tailored look into the true reality. She is merely a catalyst, a vessel presentor.

Overall there seems to be a deep orthodoxy that permeates throughout her mind, questioning the reality of how governmental bodies,“isms”, other powerful sources function, and even just the almost-machine hivemind of the people fucntion through the torrents of media influence; she directs our attention these familiar systems of organization—bloodlines, criminal investigations, flower arrangements—making visible the contours of power and authority hidden within. Incorporating mediums ranging from photography and sculpture to text, sound, and performance, each of her projects is shaped by years of rigorous research and planning, including obtaining access from institutions as varied as the US Department of Homeland Security and Playboy Enterprises, Inc.