The Fallacy of Hope

The titling of this series suggests two things: Hope exists, but it is naïve, and an argument can be fallacious whether or not its conclusion is true.

This beautiful, yet quirky series of work by Claudia Brookes, harks back to the work of Turner, exploring the aesthetic delights of light and it’s ability to imbue emotion. It magnificently explores the romantic painting movement, which validated intense emotion as an authentic source of aesthetic experience, placing new emphasis on emotions such as apprehension, horror and terror and also awe, and Brookes uses this aspect to critically depict the contemporary landscape, throwing in a sense of irony through using the romantic ‘sunset’, for social debate.

The series photographs unwanted material salvaged from student dinners and recycling bins, manifesting a world that cleverly depicts us as the architects of our own problem. From Landfill, to wind farms and melting ice caps, the viewer is confronted with a less romantic view of the world in which we live.

Brookes discusses and challenges the perception of photography and it’s relationship with painting through the constructed image. We are invited to question our reliance upon the photograph as ‘evidence’ of the truth. The obvious act of construction lends a hand to the fact that this is ‘our’ mess, reflecting the situation through a man made disarray.

The romantic era was an artistic, literary and intellectual movement that originated in Europe toward the end of the 18th century. Partly a reaction to the industrial revolution it was also a revolt against the aristocratic social and political norms of the age of enlightenment. The Fallacy of Hope cleverly draws references from this movement, whilst creating something truly original, awe- inspiring and thought provoking.