The following are both the artist introduction for the artist named 'chandoso', as well as introductions to six pieces to be included in his exhibition called 'unmerited confidence'. Write an introduction to the exhibition tying the pieces together, thematically, and attempting to address what the artist is intending to say with the choices of pieces as well as the title:

ARTIST INTRODUCTION:
chandoso is a street dog, drawing upon influences from life spent in bogotá, madrid and beijing. his work is born from a desire to decipher the often overwhelming influx of stimuli encountered in the world today. occasionally capitalizing on exploring spontaneity, his other work focuses on conveying a deeper rhetoric. society inputs, chandoso outputs.
ART PIECES INTRODUCTIONS:
1. BEAUTY: “BEAUTY”, through its blending of pearlescent white paint and gold paint, creates a balanced dichotomy aiming to spark a dialogue on the diverse cultural perceptions of beauty in Western and Asian societies and examine the intricate relationship between aesthetics, skin color, and societal expectations. While in many Western societies, suntanned skin has long been associated with wealth, leisure, and overall well-being, conversely, many Asian cultures have traditionally valued lighter skin as a symbol of luxury, purity, and femininity. This complex interplay of skin colour and apparent beauty is deeply rooted in these societies and reflects the cultural and historical contexts in which they have evolved, engaging with ideas such as cultural relativism and social constructivism.
In drawing from the critical perspectives of feminist philosophers Simone de Beauvoir and Simone Weil, “BEAUTY” explores the implications of these contrasting beauty ideals on women, their identities, and their experiences within society, as both thinkers would likely be critical of the ways in which societal preferences for specific skin tones can contribute to the objectification and further oppression of women, as well as the perpetuation of gender norms and inequality, hindering personal growth and fostering estrangement between individuals. Through questioning the origins and consequences of these beauty standards, “BEAUTY” challenges us to reconsider our potential preconceived notions about attractiveness and realize the broader implications these ideals may have on not only the individual, but society as a whole.
2. BLUE: The colour blue, a rare presence in ancient literature and scarce as a naturally occurring pigment, offers the unique lens through which to explore the complex and powerful connection between language and perception of the world around us, as suggested partly by the Sapir-Whorf hypothesis. While also evoking the philosophical concepts of the Parmenides’ ‘being’ and Heraclitus’ ‘becoming’, and their relevance to the ever-changing nature of human understanding and perception, as shaped by linguistic and cultural factors, ‘BLUE’ also encourages us to contemplate the relation to the role language, or the lack thereof, in the experiences of marginalized groups, who, without a specific word or classification for their identity, might struggle to express their experiences or communicate their identity with those around them. Similar to the lack of a word for the colour blue, the absence of a specific language or classification for a particular identity could lead to the potential invisibility or non-existence of that group in the broader social consciousness. For some marginalized groups, the need for classification can go beyond perception. As it can be tied also to their social and physical survival, without recognition and understanding of their identities, individuals may then experience discrimination, exclusion, or violence due to their inability to fit into an existing mold.
3. DON’T FEED THE ANIMALS: “DON’T FEED THE ANIMALS”, inspired by the cautionary placards often found in zoos and wildlife parks, delves into the intricate relationship between human intervention and the natural world. While touching on the consequences of disrupting ecosystems, the piece also functions as a metaphor for examining the potential negative effects of overdependence on external support within human societies, seeking to ignite a conversation on the challenges faced by disadvantaged or marginalized groups, the potential consequences of colonialism, as well as capitalism’s role in perpetuating cycles of reliance and marginalization. “DON’T FEED THE ANIMALS”, moreover, while addressing the continuation of undesired cyclical behaviours in society, illustrating how seemingly helpful actions may inadvertently lead to negative outcomes, delves into concepts of enabling and learned helplessness and beckons us to consider more holistic approaches to promote positive growth, development and self-sufficiency. Drawing on the philosophical insights of Friedrich Nietzsche, among others, the piece showcases the fine line between compassion and fostering dependency, challenging us to strike a balance between providing necessary support and empowering individuals and communities to develop resilience and independence.
4. UNTITLED: “UNTITLED” invites contemplation on numerous philosophical and psychological dimensions. The skateboard, emblematic of individualism and liberation, is transformed into an indistinct, abrasive, uniform object, signifying the erosion of personal identity in contemporary culture and reflecting on society’s inclination to disguise authenticity and seek refuge behind social conventions and expectations. “UNTITLED” challenges our perceptions of what an object is, how it should appear, and its intended purpose, mirroring society’s domestication of individuals, as the skateboard, generally associated with distinct colours and designs, now emerges as a monochromatic black surface. Defying conventional notions of skateboard aesthetics, it provokes a more critical examination of how we classify and categorize objects and people. The piece also represents the inherent discord between order and chaos, as the texture of the grip tape enveloping the entirety of the piece contradicts the intended use of the skateboard, rendering it unrideable. This juxtaposition between the constrictive nature of the grip tape and the unbridled, often anarchic spirit of skateboarding symbolizes a broader philosophical tension- the struggle between the boundaries we impose upon ourselves and the yearning for freedom and self-expression.

5. NOBODY CARES: “NOBODY CARES” comments on the way that technology has infiltrated the shared experiences of attending concerts and being fully present in the moment, emphasizing our modern world’s overdependence on capturing and sharing memories, leading to viewer to question the purpose of taking photographs and videos during live events – are they truly to preserve memories, or to merely signify one’s presence and status, within the ‘cult of nostalgia’? The title itself expresses the futility of documenting experiences on social media platforms, with the blurred mosaics, rendering the initial subject matter unrecognizable, reflecting the oversaturated and ephemeral nature of social media content, where images and experiences are easily forgotten or ignored. The piece is a reminder that, despite the constant rush for validation through likes and shares, these moments might lose their significance in the vast sea of information, questioning the value of instant, digital memory preservation over truly savouring live experiences. “NOBODY CARES” seeks to make a statement on the loss of individuality and homogenization of experiences, but also allows the mosaic representation of the images to be seen as a representation of how these shared experiences, despite being diluted through photography, can still contain fragments of the essence of human emotions and connections; the squares of colours symbolizing the underlying energy and emotions that still may exist in the digital world but are often drowned out by the sheer amount of content produced.
6. HI HUNGRY, I’M DAD: In a world seemingly dominated by a never-ending parade of mindless content, “HI HUNGRY, I’M DAD” pauses to examine the underpinning philosophy, Absurdism, that, with roots in the existential work of Albert Camus, contends that we continuously attempt to find meaning in a chaotic and irrational world, only to be consistently reminded of life’s inherent absurdity. The striking yellow light showcases the whimsical realm of Dad jokes, a humor niche that thrives on the very nature of the absurd, attempting to encapsulate the reasons behind our fascination with the nonsensical. As we explore the depths of Absurdism, we acknowledge our apparent need to cope and find meaning in a seemingly senseless world, and by embracing the celebration of the trivial, we can finally come to terms with the absurd nature of our existence. Epitomizing the various reasons people find comfort in trivial and silly content, such as escapism, humor, low cognitive load, social acceptance and even nostalgia, the piece also can serve as a reminder of the darker psychology behind our enjoyment, such as schadenfreude and our desire for social comparison, showcasing a truly multi-dimensional ode to our human experience. “HI HUNGRY, I’M DAD” invites us to pause for a moment and celebrate the beauty of absurdity, contradictions and the seemingly ludicrous nature of our existence, as, in the end, it through chaos that we find meaning and, ultimately, embrace our humanity.