The Cacodylic Eye

Francis Picabia became a leading name in the Paris Dada movement with his mechanomorphic paintings, which were considered explosive in subject when he submitted them to exhibitions.  He collaborated with The Zurich Dadaists, working on publications of the Dada by Tristan Tzara. 

Given credit under Picabia, L'oeil cacodylate stands as a radical portrait of collaborative efforts representing multiple artists linked to the Dada movement.  There is not one singular author, technique, or medium used throughout the whole piece.  The variety sheds light on one of the key ideas of Dada: Chance.  Those who had come to visit Picabia while he recovered from eye surgery were presented with this paper covered in euphemisms, collage efforts, small phrases, photomontage, and signatures.  It was considered finished when Picabia saw there was no room left at all for any additions.

Dada is a movement that has affected the arts in the modern age.  With this being said I believe it is essential to find links in some practical exercises I have experienced, and the Dada techniques.  The moment I saw L’oeil Cacodylate I was brought back to an event I attended in 2011 on Earth Day put on by TOMS shoes that had three huge canvases set up and buckets of primary colored paint sitting at the bottom of each.  People from all over the world began to paint letters, add ticket stubs, write phrases, and leave their imprint on this canvas.  There were no rules or directions to follow besides just simply create.   There were multiple events across the United States that had this exact same purpose, to just create together.  I knew no one that painted on the same canvas as I, and although the Dadaists did collaborate together throughout the movement and exchange information worldwide, I am sure there are those who worked on Picabia’s L’oeil Cacodylate who did not know each other.

The beauty of a group composition with such endless possibilities is something that has come from the Dada movement.  L'oeil Cacodylate may not be the most aesthetically pleasing composition to view at an exhibition, but it has a uniqueness that wards great aesthetic pleasure to a viewer.

   

The fact is that there was no outside guidance for the way these pieces of art should be completed.  The composition was free for the visitor to work with; Chance.