The Art of Contradiction: Kenzie Sitterud’s ‘Happy Sad’ Exhibition Explores Privilege and Pain
March 1, 2025, 11:11 pm
In a world teetering on the edge of chaos, Kenzie Sitterud’s latest exhibition, “Happy Sad,” serves as a mirror reflecting the duality of human experience. The show, currently on display at the Firehouse Art Center, invites viewers to confront the stark contrasts of joy and sorrow, privilege and suffering. It’s a vibrant exploration of the emotional landscape that defines contemporary life.
Sitterud, a Longmont-based artist, has long been engaged with themes of identity and systemic critique. Their earlier works delved into queer dysphoria, transforming everyday spaces into charged installations. But “Happy Sad” marks a significant evolution in their artistic journey. It’s not just about personal identity; it’s about the collective experience of living in a world rife with contradictions.
The inspiration for “Happy Sad” came from a simple parenting moment. Teaching their young son to recognize emotions, Sitterud found themselves repeating the phrases “happy face, sad face.” This simple exercise burrowed into their subconscious, leading to a profound realization: the exhibition would embody this emotional duality. Yet, as Sitterud developed the show, they became acutely aware of the dissonance between mundane life and global crises. One moment, they were pedaling furiously on a Peloton bike; the next, they were scrolling through harrowing news about wars in Gaza and Ukraine. This jarring juxtaposition became the backbone of the exhibition.
At its core, “Happy Sad” challenges viewers to grapple with the privilege of distraction. In America, we haven’t faced war on our soil for over a century. This absence creates a unique detachment from the suffering of others. Sitterud’s work compels us to confront this privilege head-on. It’s not about guilt; it’s about awareness. What does it mean to live in comfort while others endure chaos?
The exhibition’s visual language is striking. Upon entering, visitors are enveloped in a vibrant yellow hue. This isn’t a soft, inviting shade; it’s a bold, almost aggressive lemon that demands attention. It radiates joy but also serves as a warning—a reminder of caution tape and emergency alerts. The centerpiece of the gallery is a kinetic sculpture of 30 Mylar happy face balloons, swaying and bobbing, their movements dictated by unseen mechanical pulleys. At first glance, it appears playful. But as one lingers, the unsettling nature of the installation becomes apparent.
Sitterud’s work doesn’t shy away from discomfort. Accompanying the kinetic sculpture are video pieces that further explore the theme of forced emotions. In one segment, participants are instructed to shift between happy and sad faces on command. The result is awkward and revealing, prompting viewers to reflect on how often we manufacture feelings in our daily lives. Another video features Sitterud consuming a pink Pussyhat, a symbol of resistance, while another shows a friend unraveling one thread by thread. These actions speak volumes about the absurdity of societal expectations and the struggle for authenticity.
A large-scale painting, “The Wait (W-A-I-T) of the World,” dominates one wall. It layers fragmented images of war into geometric compositions, a stark reminder of the ongoing global conflicts. Nearby, clusters of concrete-filled balloons hang suspended, their weight rendering them useless as symbols of celebration. This transformation—from buoyant latex to heavy concrete—mirrors the emotional weight many carry in today’s world.
“Happy Sad” is a visceral experience. It doesn’t provide easy answers or resolutions. Instead, it asks viewers to sit with the discomfort of contradiction. The gradual deflation of the happy face balloons serves as a metaphor for the exhaustion many feel—politically, socially, and personally. It’s a slow collapse, a tangible representation of systems that were never designed to support everyone.
Yet, amidst the heaviness, there’s a glimmer of hope. Sitterud is not just focused on grief; they also emphasize the importance of joy. As part of the exhibition, they are hosting a “Queer Dance Party” at the Firehouse Art Center. This event is a celebration of community and resilience, a space where joy can flourish even in oppressive times. It’s a reminder that in the face of adversity, joy is a form of defiance.
Ultimately, “Happy Sad” is about reflection. It challenges us to consider our privilege and the ways we engage with the suffering of others. It’s a call to awareness, urging us to confront the complexities of our existence. As visitors walk through the exhibition, they are invited to reflect on their own experiences and the broader societal implications of privilege and pain.
In a time when the world feels increasingly divided, Sitterud’s work serves as a powerful reminder of our shared humanity. “Happy Sad” is not just an exhibition; it’s an invitation to engage with the contradictions of life. It’s a space where we can confront our discomfort, celebrate our joys, and ultimately, seek a deeper understanding of what it means to be human in a world filled with contradictions.
Visitors can experience “Happy Sad” at the Firehouse Art Center until March 9. It’s an opportunity to engage with art that resonates on a profound level, prompting reflection and conversation about the complexities of our lives.
Sitterud, a Longmont-based artist, has long been engaged with themes of identity and systemic critique. Their earlier works delved into queer dysphoria, transforming everyday spaces into charged installations. But “Happy Sad” marks a significant evolution in their artistic journey. It’s not just about personal identity; it’s about the collective experience of living in a world rife with contradictions.
The inspiration for “Happy Sad” came from a simple parenting moment. Teaching their young son to recognize emotions, Sitterud found themselves repeating the phrases “happy face, sad face.” This simple exercise burrowed into their subconscious, leading to a profound realization: the exhibition would embody this emotional duality. Yet, as Sitterud developed the show, they became acutely aware of the dissonance between mundane life and global crises. One moment, they were pedaling furiously on a Peloton bike; the next, they were scrolling through harrowing news about wars in Gaza and Ukraine. This jarring juxtaposition became the backbone of the exhibition.
At its core, “Happy Sad” challenges viewers to grapple with the privilege of distraction. In America, we haven’t faced war on our soil for over a century. This absence creates a unique detachment from the suffering of others. Sitterud’s work compels us to confront this privilege head-on. It’s not about guilt; it’s about awareness. What does it mean to live in comfort while others endure chaos?
The exhibition’s visual language is striking. Upon entering, visitors are enveloped in a vibrant yellow hue. This isn’t a soft, inviting shade; it’s a bold, almost aggressive lemon that demands attention. It radiates joy but also serves as a warning—a reminder of caution tape and emergency alerts. The centerpiece of the gallery is a kinetic sculpture of 30 Mylar happy face balloons, swaying and bobbing, their movements dictated by unseen mechanical pulleys. At first glance, it appears playful. But as one lingers, the unsettling nature of the installation becomes apparent.
Sitterud’s work doesn’t shy away from discomfort. Accompanying the kinetic sculpture are video pieces that further explore the theme of forced emotions. In one segment, participants are instructed to shift between happy and sad faces on command. The result is awkward and revealing, prompting viewers to reflect on how often we manufacture feelings in our daily lives. Another video features Sitterud consuming a pink Pussyhat, a symbol of resistance, while another shows a friend unraveling one thread by thread. These actions speak volumes about the absurdity of societal expectations and the struggle for authenticity.
A large-scale painting, “The Wait (W-A-I-T) of the World,” dominates one wall. It layers fragmented images of war into geometric compositions, a stark reminder of the ongoing global conflicts. Nearby, clusters of concrete-filled balloons hang suspended, their weight rendering them useless as symbols of celebration. This transformation—from buoyant latex to heavy concrete—mirrors the emotional weight many carry in today’s world.
“Happy Sad” is a visceral experience. It doesn’t provide easy answers or resolutions. Instead, it asks viewers to sit with the discomfort of contradiction. The gradual deflation of the happy face balloons serves as a metaphor for the exhaustion many feel—politically, socially, and personally. It’s a slow collapse, a tangible representation of systems that were never designed to support everyone.
Yet, amidst the heaviness, there’s a glimmer of hope. Sitterud is not just focused on grief; they also emphasize the importance of joy. As part of the exhibition, they are hosting a “Queer Dance Party” at the Firehouse Art Center. This event is a celebration of community and resilience, a space where joy can flourish even in oppressive times. It’s a reminder that in the face of adversity, joy is a form of defiance.
Ultimately, “Happy Sad” is about reflection. It challenges us to consider our privilege and the ways we engage with the suffering of others. It’s a call to awareness, urging us to confront the complexities of our existence. As visitors walk through the exhibition, they are invited to reflect on their own experiences and the broader societal implications of privilege and pain.
In a time when the world feels increasingly divided, Sitterud’s work serves as a powerful reminder of our shared humanity. “Happy Sad” is not just an exhibition; it’s an invitation to engage with the contradictions of life. It’s a space where we can confront our discomfort, celebrate our joys, and ultimately, seek a deeper understanding of what it means to be human in a world filled with contradictions.
Visitors can experience “Happy Sad” at the Firehouse Art Center until March 9. It’s an opportunity to engage with art that resonates on a profound level, prompting reflection and conversation about the complexities of our lives.