Teasing both the subjective and perceptive the practice of Shiloh Kopecky, has been described as, beautifully disgusting, shockingly placid, and cleverly stupid, (along with a myriad of more “abbreviated” adjectives.) With any manner of mixed media the work visually juggles with its own indulgence, elegance; to at times the direct emulation of the criticisms the art embodies. Any style may not immediately be recognizable in one media or aesthetic devotion, but is present more something more esoteric throughout the practice.
On a case to case basis, many individual works may be interpreted with a sometimes satirical and often a dry sense of humour, though most are insisted to be done in earnest from a more lighthearted dubiousness. A more thorough understanding can be found from the works interpretation within the practice in which it resides, as well as the contemporary art culture the viewer lives within. Some may see it as a “cop-out” or non-specific in saying, “the viewer is free to involve themselves to whatever level they are comfortable, and take from the art what they will.” All art may inherently be slave to this in some form, it is however; what the work of this artist strives to emphasize. With its construction or instigation of a polarized difference in opinion within its audience, the art endeavours to revel in its awareness. Art actively seeking to break that fourth wall, offering an artistic aside to the viewer exclaiming the uncertainty of its condition.
Conceptually; Kopecky relies heavily on tropes of originality, sincerity, commercialism, and faith in an effort to explore parallels between phenomenological and sociological understandings of what exactly it is that makes Fine Art more than a painting. The work is made able to supply its audience with something of face value as well as being capable of conversations with those having much more than a passing interest in Fine Art.