Fishing For Compliments
A surreal still life that reimagines fishing gear as tools for catching attention, praise, and self-worth. Fishing for compliments stages a playful yet unsettling choreography of desire, seduction, and simulation.
Creative Direction:
gezeisel.studio
Role:
3D Artist
Year:
2022
Lures of validation in a pond of artifice.
Fishing for compliments blends hyperreal visual aesthetics with metaphorical humor, staging a synthetic tableau where bait becomes performance and catching fish is replaced by catching praise. Standard fishing gear, rods, lures, and a shimmering holographic fish, floats in a theatrical set-up of plastic foliage and fragmented color grids, evoking both marketing aesthetics and childhood craft.
The composition probes the entanglement of self-presentation, digital validation, and emotional labor in contemporary image cultures. It satirizes the endless hunt for likes, hearts, and flattery while drawing on the visual language of product photography, online tutorials, and museum displays. Here, the desire to be seen becomes a spectacle in itself, caught in a loop of attraction, illusion, and gentle absurdity.
Fishing For Compliments
A surreal still life that reimagines fishing gear as tools for catching attention, praise, and self-worth. Fishing for compliments stages a playful yet unsettling choreography of desire, seduction, and simulation.
Creative Direction:
gezeisel.studio
Role:
3D Artist
Year:
2022
Lures of validation in a pond of artifice.
Fishing for compliments blends hyperreal visual aesthetics with metaphorical humor, staging a synthetic tableau where bait becomes performance and catching fish is replaced by catching praise. Standard fishing gear, rods, lures, and a shimmering holographic fish, floats in a theatrical set-up of plastic foliage and fragmented color grids, evoking both marketing aesthetics and childhood craft.
The composition probes the entanglement of self-presentation, digital validation, and emotional labor in contemporary image cultures. It satirizes the endless hunt for likes, hearts, and flattery while drawing on the visual language of product photography, online tutorials, and museum displays. Here, the desire to be seen becomes a spectacle in itself, caught in a loop of attraction, illusion, and gentle absurdity.
Fishing For Compliments
A surreal still life that reimagines fishing gear as tools for catching attention, praise, and self-worth. Fishing for compliments stages a playful yet unsettling choreography of desire, seduction, and simulation.
Creative Direction:
gezeisel.studio
Role:
3D Artist
Year:
2022
Lures of validation in a pond of artifice.
Fishing for compliments blends hyperreal visual aesthetics with metaphorical humor, staging a synthetic tableau where bait becomes performance and catching fish is replaced by catching praise. Standard fishing gear, rods, lures, and a shimmering holographic fish, floats in a theatrical set-up of plastic foliage and fragmented color grids, evoking both marketing aesthetics and childhood craft.
The composition probes the entanglement of self-presentation, digital validation, and emotional labor in contemporary image cultures. It satirizes the endless hunt for likes, hearts, and flattery while drawing on the visual language of product photography, online tutorials, and museum displays. Here, the desire to be seen becomes a spectacle in itself, caught in a loop of attraction, illusion, and gentle absurdity.
Fishing For Compliments
A surreal still life that reimagines fishing gear as tools for catching attention, praise, and self-worth. Fishing for compliments stages a playful yet unsettling choreography of desire, seduction, and simulation.
Creative Direction:
gezeisel.studio
Role:
3D Artist
Year:
2022
Lures of validation in a pond of artifice.
Fishing for compliments blends hyperreal visual aesthetics with metaphorical humor, staging a synthetic tableau where bait becomes performance and catching fish is replaced by catching praise. Standard fishing gear, rods, lures, and a shimmering holographic fish, floats in a theatrical set-up of plastic foliage and fragmented color grids, evoking both marketing aesthetics and childhood craft.
The composition probes the entanglement of self-presentation, digital validation, and emotional labor in contemporary image cultures. It satirizes the endless hunt for likes, hearts, and flattery while drawing on the visual language of product photography, online tutorials, and museum displays. Here, the desire to be seen becomes a spectacle in itself, caught in a loop of attraction, illusion, and gentle absurdity.