The sense and theory of artistic creation without anticipated result, or, predetermined aesthetic, has long been in practice in contemporary art. Dada (Tristan Tzara) held that the anarchistic intent of the destruction of object and symbol would create a new visual language. Marcel Duchamp held that the transformative power of the object lay in context of a spectacle incarnate in the re-purposing of the object itself.  “Disruptive Transit” invokes a similarly experimental concept, yet, the distinction lies in a sheer discovery of an established artistic media and process, that of the print technique, with the objective to explore the conscious and subconscious mind. As we have been made to endure the unimaginable experience of the Pandemic, with great confusion and disorientation, the manner of this unique exhibition is all the more prevalent.  The concept returns to the central tenement that all matter is vested with life, that whether organic or static, all things experience an eventual decay or result in the absolute of an end to their presence in life.

  The inherent discovery lies in this exhibition, where four young voices familiar and well trained in different disciplines, have been encouraged to abandon their technique and explore the constraints and possibilities given to printmaking. Otherwise a deliberate and painstaking art, the print is offered as a means to convey the psyche, the indivisible experience of actual, concrete and imaginary or mnemonic vicissitude.  The Shunno Studio came to embody and enact a per formative laboratory, the process orientation which challenged the young artists now a cartographic expression of a “plague” at once viral and media based.  It serves as a catharsis which might offer hope and paint the experience of the Pandemic in a liberating perspective.  Thus, we might hold an optimistic view of the world at hand, despite the immeasurable adversity.