Solo Exhibition, Pompano Beach Cultural Center, Fort Lauderdale, Florida

ONLY INSTALLATION OF GOLD KING TUT IN AMERICA!!!

What does play with historical memory mean? At the latest exhibition at Vantage Point at Pompano Beach Cultural Arts Center in South Florida, installation artist Yarraford addresses this transformation and transcendence issue. Rufford is well known

LED injection sculpture with her signature wall-to-wall repeating geometry and hypnosis. At Vantage Point, you will activate the exhibition space with a selection of illustration works on canvas and a multi-dimensional 8-foot gold figure that radiates geometric hieroglyphs both around and in the columns of the gallery. Rufford reflects the meaning behind the monument. She explores the history, memory, space, and human interconnectivity, and encourages reinterpretation of experience. She asks how revitalizing the space can create room for viewers to rewrite their own history.

Monuments reflect both human history and fantasy. The monument illustration shows the immortality of a savior or hero. At the same time, imagine the ideal form of history. Decorate with gold and magnify magnificently. The monument provides viewers with an interwoven historical journey connecting time and space. But are we looking at ourselves or fiction? Rufford’s Identity Reincarnation-Why Am I Threatened? Attack the basic interaction between monuments and creatures. As viewers walk toward the monument, they are fascinated by its vivid golden color, sparkling reflections, clarity, and massiveness. Viewers also immediately recognize their point of view related to the work, as their experience in the work is conditioned by where they stand in the room. La’Ford has taken up this space as the first step in conceptualizing her work. As her installation went through multiple stages of construction, she focused on using scale and deploying both very large and small pieces. Because viewers can walk, La’Ford designed the show to appear when moving. Geometric patterns wrap the space, and everything becomes a golden monument. Her interpretation of the meaning behind the point of view extends beyond physical space. La’Ford further interprets the point of view as a viewer’s mental point of view, an understanding of history, human stories, and experiences of life as facts and fiction. Although monuments have an interesting history, La’Ford challenges this exact same form, creating a new history with human patterns at the forefront.

To address the human experience and its connections, La’Ford is interested in the role that geometry plays in both physical experience and nature. Her two-dimensional work is like a coding language in the form of geometric patterns. Patterning has strong historical roots, and as a Jamaican color artist, La’Ford mainly works on what is called an “ ancestral pattern ” or on visual traces of civilization that spans culture and continents is. Patterns are woven into and out of nature by mathematical constants and are woven into our daily lives through expressions of culture, trade, and art. Geometry affects every aspect of life, from micro to macro. Its existence dates back to the moment of primitive creation. Human beings are broken down into the geometric spirals of DNA and are built up by the periodic nature of history. In her work, La’Ford frequently equates geometry with exploration, asking viewers to interpret symbols, trace lines, compose meanings, and understand the history and future of civilization.

Basically, Vantage Point is a show that examines human interconnectivity. Rufford’s selection of striking geometric hieroglyphics calls on viewers to imagine a new historical vocabulary based on prejudices of identity, iconography, symbolism, and cultural paradigms. The geometry creates intersections. This represents a euphoric journey for LaFord to communicate the invisible experience of mankind through a diverse but shared account. She rearranges geometric shapes and spaces with the concept of transition. The relationship between people and space or the natural world around us creates an evolving worldview, pushing our history from one era to the next. Vantage Point strives to heal the difference by understanding that all civilizations are connected and that people are connected in a way that our unique geometry is connected.

How can I travel information in relation to time? Rufford uses the shape of the monument to tackle history, the weaving of experience, and the repetition of geometry throughout human culture. Looking at the monument images, you see yourself in a historical and fictional way. Physical monuments may be frozen in time, but human history is not. It is constantly braided, as suggested by Rumford’s geometric pattern. The way you remember history affects your ability to imagine a new future. In addition, the traditional way of manipulating space opens new visual and conceptual perspectives. Where the viewer meets the monument is where the present meets the past, everyday meets universality, and individuals meet the fabrics of society and history. By changing the location of both the viewer and the monument, Ya Van La’Ford’s exhibition Vantage Point finds silence through interconnection and the creation of new stories.

Sebastian

Sebastian was born and raised in the busy city of Abbottabad. As a journalist, Saad Mushtaq has contributed to many online publications including the PAK Today and the Huffing Post. In regards to academics, Saad Mushtaq earned a degree in business from the Abbottabad UST, Havelian. Saad Mushtaq follows the money and covers all aspects of emerging tech here at The Hear Up.Thanks