Verse can have visual ramifications as well as verbal ones. Text commandeers white space on the page in one-off patterns reflecting a close collaboration between author and typographer. The ensemble is larger than the words which are its literal medium. The reader-viewer is granted leeway to court speculation and draw bespoke conclusions as to what they mean.
I’m emboldened to invert the analogy and call Jesse Darling’s lofty chairs a visual poem. I get a kick out of the Turner Prize laureate’s “March of the Valedictorians,” not least for its title, but also for its send-up of the hard-charging achiever class by a salutatorian wit.
[Darling] learned how to weld and began creating his found-object installations, guided by associations he made between the materials and their historical and economic contexts… “Plastic is this zombie medium,” he said, because it does not decompose and is made from fossil fuels derived of dead organic matter. “Steel is a technology of empire that enabled guns, the colonial project.”
(Thomas Rogers, “He Won the Turner Prize. But Does He Still Want to Be an Artist?” New York Times, 6-6-24)
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EthicalDative 
Not for me.
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“Hi-ho alas, lack-a-day.” That phrase is from an old song your comment triggered in my head — “But Not for Me.” I Googled it and it turns out to have been written by Chet Baker, a trumpet player I admire. Thanks for visiting and commenting, GP.
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Alberto Giacometti meets Jeff Koons…
Great movie, (banned,) if you can avail yourself of a copy, Robert Hughes, “The Mona Lisa Curse.” Sums up my feelings about “celebrity artists,” contemporary art, the so-called “Turner Prize,” nepotism, galleries and auction houses, and the unregulated art market… f*ck art, gimme money, money, money.
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Your Giacometti-Koons reference is apt. I like it. I like money, too! Or is it, “I, too, like money”? 🙂
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“I, too, like money” sounds better to my ear.
As for money, I don’t like it, or, rather, I’m content with just enough to get by. 😉
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I really like this sculpture – using ubiquitous red plastic chairs and subverting them into something ominous just by extending their legs. It’s witty and clever – including the title!
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I’m glad your reading of it concurs with mine, Sue. It triggers amusement if nothing else. The assemblage is dark and zany and somehow ominous, and also impudent and irreverent! I assume the unfinished plywood walls of the enclosure are an intentional touch in the piece’s presentation. What’s not to like! 🙂
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