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Most of today's returns to figuration finds everything chopped and screwed, comical and maniacal, in garish colors that have only become naturalized by screens, and painted with a hard edge and airbrush representing the discarded body of a post-internet subject. Of which Daignault is not. The central friction of Daignault's work is the body moving from its localized version to its decentralized self. In this upcoming metaphor the post-internet painters represent globalization and Daignault represents the locavore movement, relocalizing the product, marking its origin, and traded in the gift economy before adrift in loose markets of art, so that even once loose they will still be representations of that trade, of that local movement, so we get to look back and remember those days.
See too: Joshua Abelow at Freddy
