End of the 50’s, the G.I. are back from the Pacific. Hawaii is now part of the USA, and American society is thirsty for fun and exotism to heal it wounds.
Totally ignoring the original spiritual roots of Tiki, America allows itself to re-create its own Pacific dream of primitivism, made of plastic, alcohol, and fake legends. Tiki is now everywhere: architecture, Hollywood, fashion…
In this serie of eleven collages, Adeline Parrot combines a variety of distorted Tiki references with the vastness of empty architectural landscapes.
The pattern repeats and the color dazzles us, tending toward fluorescent and hallucination. The artist gives us a lot to see, yet nothing is easy to discern, encouraging an uneasy hesitation between enjoyment and uncertainty.
Behind the overdose of pigments hides a certain strangeness that leads us to yet unexplored and troubling territories.
These new worlds she opens are timeless and locationless. They are lost in some kind of infinity, into which visitors are invited to project themselves.
Bodies and minds are set free, once more. The artist rewrites the faith of Tiki’s lost spirituality absorbed by pop society and proposes us an ultra-contemporary vision of it.
* Leilani is an indigenous Hawaiian female name meaning ‘heavenly or royal flower of paradise’. The main legend of Leilani was that of a beautiful maiden who insisted on climbing up a volcano to collect sea shells; despite the warnings of her lover, she still kept going in pursuit of her personal almost magical quest. The volcano erupted and she died. People interpret this in various ways and symbolic of female determination and strength, the power of an aesthetic quest against dangerous odds, and the notion that all things of beauty also often have a dark mysterious and sometimes dangerous side.