Fake it Till You Make it Art Staement

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ART STATEMENT by Birgitte Moos



’Fake it Till You Make It’ is contemporary art in the public space and visual commentary on contemporary visual art practice and spectator attendance. Produced by using threads to art history and current ‘art trends’. It is a site-specific pjece, created for the Autumn Lights exhibition at Pershing Square in Downtown, Los Angeles, Sept. 2009. Specifically intended to be positioned above the escalator to the parking lot under Pershing Square. The site-specific placement of the work is a commentary on the spirit of the place. LA is a multicultural metropol and melting pot frequented by people of all ages and social ties.

The dominating blue metal color in ’Fake it Till You Make It’ is a metaphor for the 20th century. As Autumn Lights in Latin means melancholy, I interpret this as death, followed by emptiness, leading to new beginnings. The blue geometric traces indicates here a melancholic trip from sources for civilization; the production of infrastructure in ancient Greek city states to cities encapsulated by Freeways, precisely as Downtown LA, to technological virtual highway Internet traffic.

The work also examines the impossible question of whether all art is already done or if it is still possible to generate new innovative ideas. Can an artist's understanding of art history serve to generate new groundbreaking work. ’Fake it Till You Make’ It plays with the notion that in present consumer-related part of art communication, it often seems to be about that the artist executes a new idea. The title ’Fake it Till You Make It’ may for example refer to that phenomenon one as an artist finds when similar ideas occurs simultaneously elsewhere in the world. And the results can seem as if some of the artists apparently, deliberate or not, are copying ore getting inspired by other artists' works and ideas. Perhaps ideas are echoing each other. Reversely, the title also indicates that exercises in copying masterpieces, generates a mastery of techniques, that can lead to mastery of new and precisely executed artworks. But to reproduce an earlier work accurately is a matter of technique and routine. No matter how skillfully it's done, it can not be called basic research on behalf of art. On the other hand, art is now development of new artistic practices in which new knowledge and artistic values move at an accelerating speed.

’Fake it Till You Make It’ has a three-dimensional character. The different visual fields are located in different levels on the foundation. The foundation is the 4 largest rectangular surfaces. The surfaces have some cut out ‘windows’ with inserted images, with prints on varied transparent materials. Pictures and windows provide glimpses of some of the historic trail, which provides a foundation for the work, while the sculptural objects on top of foundations refers forward in time.To illustrate the influence of previous works, or indicating this could be a comment on CON-ART, or con-art in itself, new paintings have been added on top of the foundation. These heavily influenced by original works by artists, such as Rothko. In addition there are ‘imitations’ of new works dealing with reflections like in Rorschach Tests. Obvious choice of motifs that plays on mirroring effects in relation to the ideas of echoes and reflections in ’Fake it Till You Make It’. Recent works have also been seen, containing textile design or paper clips integrated on canvases. Therefore a field has in this case been added, where the surface consists of braided strips.

The text is inverted and written from right to left. This as a result of that my thoughts are projected onto the canvas. The canvas, which later placed opposite a spectator, sends its manifested message back to this new receiver who receives a reflection of a mirror. In other words; a double projection. Throughout this new meeting, the word order again turns into both a visually and linguistically recognizable structure. If the artist's function is to hold up a mirror to society, we may have to accept the fact that in our time, the mirrors are hazy. The problem is that we are blinded by our own projections. An image of that we in the West reflect each other, unlike for example in Buddhist philosophy, where it is about stopping projections in order to see clearly.

Thus the work is quite complex, multi-referring and immediately incomprehensible. Just like life.

The site-specific placement of the work is a commentary on the spirit of the place. Pershing Square is a multicultural melting pot frequented by people of all ages and social ties.

Copyright ® Birgitte Moos 2014

Arnold Aronson PhD

Professor and Chair

Columbia University School of the Arts, Theatre Arts Division, NYC

Allan Tollefson

Professor and Technical Director

University of La Verne, Theater Arts Faculty, Los Angeles, CA

Sherry Dobbin


The Watermill Center by Opera Director Robert Wilson, NY

Vibeke Sorensen

Professor and Founding Chair

University of Southern California, Los Angeles, School of TV and Cinematic Arts, Division of Animation and Digital Arts

Steffen Aarfing

Set Designer


Ron Sossi

Artistic Director

The Odyssey Theater, Los Angeles

Susanne Vad

Film Studies Director

Zentropa Productions / Station Next, Copenhagen

Jonas Elmer



Ulla Hovgaard Ramlau


Danish Design Center, Copenhagen

© Birgitte Moos Chalcraft 2020