¡WHITE NOISE SERIALS!
TOO MANY MASCOTS, NOT ENOUGH CHARACTER? Staring at us from billboards and food packaging, battling for our attention as corporate logos or trademark icons, spreading over websites or the screens of our mobile phones, mascots have become a constant cast of our visual culture. They connect viewer and product on an emotional level and enable instantaneous identification of – or differentiation between – brands and ideas. But their significance can stretch far beyond their function in marketing of products.
Premiered as part of Pictoplasma’s White Noise exhibition at La Casa Encendida, Madrid, the “White Noise Serials” installation consists of an extensive shopping shelf display, bursting with an abundance of competing sympathy seekers on an avalanche of endless trifling product packages. The original White Noise product package, designed by Steve Rinzen and featuring the exhibition’s mascot by Rilla Alexander, served as a serial canvas to present over 300 characters by an avant-garde scene of international artists, designers and illustrators.