“The closing walls and the ticking clocks”

Studies have shown that there’s a powerful link between scent and memory. I have personally found this to be profoundly true. One breath in and suddenly I’m transported into the past.

I have smell triggers. Lilies remind me of funerals. The smell of matches reminds me of burning candles late at night in my room as an angsty teen. The salty smell of the ocean reminds me of going to the shore during summers as a child, which was one of the few truly happy parts of my childhood.

Today as I was leaving a meeting at a local conference venue, I was greeted by the heavy scent of cigar smoke, courtesy of a sheepish-looking gentleman who was having a quick smoke in the parking garage of a smoke free property. He needn’t have worried – I’m the type who snitches on people trying to enjoy a simple vice.

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Constructing identities

I spent some time at the Denver Art Museum last week, and one of the current exhibits is a landscape exhibit which, according to the DAM, will show how various artists have blurred “the distinction between ‘observed’ and ‘constructed’ imagery.”

Observed vs. constructed is an interesting binary. Has the artist who took this simple (yet stunning) photograph below merely created something we can observe? Or is there an element of construction there?

One could certainly observe and move on. But I think the fact that the photo is in muted tones and that an image was chose that features an asymmetrical breaking wave is an element of construction. It makes me feel like I’m looking at a wild, stormy ocean. It’s beautiful, but fearsome. It should be admired, but also respected.

I would even argue that the color of the wall that the DAM chose to hung it on adds to/emphasizes that construction. Would the photo have felt different if it was hung on the beige wall instead of the gray one? What if it was hung on a red wall? Does that change the context?

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