Slip-Slidin' Away

Slip Sliding Away


"Slip-Slidin' Away" is actually a collage within a collage, with its completion coming just shortly before the opening of the Aldyyth Exhibition. It combines not only the original collage found in the middle of the work, but the border itself is a collage. This border is made of a list of handwritten dates, each one corresponding to a day that the artist has been alive.

Analysis of Visuals

"Slip Slidin' Away" is, like many if not all of Aldwyth's works, subject to
a plethora of interpretations. From a simply visual standpoint, it seems to be focusing on a struggle between two factions. The outside red area seems to be kept out of the inner gray cloud. From looking at some at Aldwyth's other works, it seems to be a clear shot at the accepted art world.

Upon close inspection of the inner bubble, it can be found that many of the things are representative of Aldwyth's preferences in art. There are impressionist artists, architecture, and even things such as planets and lightning bolts that seem to represent Aldwyth as a whole. They are abstract, complex, and in a sense outside of normal comprehension. By knowing a bit of Aldwyth's back story, we can surmise that in contrast to the inner section which she is familiar with, the outer edges are the outside world that she does not interact with.

For the majority of her art career, Aldwyth has in a sense existed in this "bubble". Her life was dedicated to art, dedicated to her craft and all aspects governing it. She was not in the mainstream of the art world, but set aside and walled off. This separation from the know and unknown world in the collage is therefore a direct representation of her life. Another interesting element that backs up this conclusion are the eyes situated in the corners of the work. They peer at her work and her life, from the outside looking in. As they peer on, the clouds they move through change from normal, fluffy clouds into pixelated ones. They become more simplistic and in a sense seem harsh compared to the earlier fluffy clouds. Could this signify that the separation from the outside world is caused by how others view her world? That others lack the understanding to share in her views, and therefore discard them as irrelevant?

Analysis of Border

The border of this collage is a very significant part of this collage. Each one of the artist's days lived on this world are numbered starting at 1. It continues around and around the collage until it reaches some number in the 22,000s, or at least around there. All together, it represents her life as a whole in the collage. It borders and includes the white area, things familiar and known to the artist, and the red area, things unknown and unfamiliar to the artist. The border lets the audience know that this in-depth collage is a quick but meaningful representation of how she views her own life.

Adding on to this understanding, we can also reach the conclusion that since the beginning of her life she has been cut off from everyone else. Of course it is preposterous to assume that she has been isolated her entire life from the outside world, she did have a husband at one point. However, if we look at the work as a statement about how she lives in her own little world, focusing on art, is it not logical to assume these dates signify the fact that she has lived her entire life in somewhat of an isolated state? Perhaps we can go one step farther and say that this state was not always literal, but in some respects mental. Today, she works on art in a style a lot of people do not embrace, is not easily accessible to everyone, and in some respects was meant for her eyes only. This in itself is a kind of isolation, one of the main themes of the work.

Analysis of Title



The image below refers to the statement that is being made in Slip-Slidin' Away. The collage plays on the idea that life is short-lived and meant to be enjoyed, and many of us often waste days like today away. The work is slightly cynical in its tone because of the assortment of seasons collected in the middle of the piece and also because of the timeline border, which represents all the days of our lives as merely numbers, and thus alludes to the idea that our days are just another collection. Besides a few memories, our days are meaningless because they are not filled with life. The image below is taken from PostSecret Archives.


"Slip-Slidin' Away" is a piece that represents Aldwyth's personal life, environment, and universe. The central black and white area represents simplicity and is the world how she knows it. Th e outer area is mainly red which has been known to represent extravagance. This is the outside world that is unknown to her. There is an eye on each corner of the red that is looking in to the black and white area. This represents judgment that the people of the outside world are passing unto her and her own world. It's as if she feels like people are looking at her and deciding whether or not they approve of her lifestyle. The title of this piece of art can be looked at in a few ways. She may feel as if the outside world is slipping and sliding away from her and eventually she will be alone. Outside of the red area, Aldwyth has counted the days of her life as if she is watching her life slip and slide away. There is a song called "Slip-Slidin' Away" by Paul Simon. The lyrics can be found here:'-Away-lyrics-Paul-Simon/CC7435F5B53736464825698A0010CAB3. The song begins by saying "Slip slidin' away, Slip slidin' away, You know the nearer your destination, The more you're slip slidin' away." This connects to the picture because as she becomes more detached from society, the more days pass by and she nears the next phase of life. This was personally my favorite piece of the art show. I found it very inspiring in the way that it portrays her life and how she feels about society.
-Arden Turkewitz

located on right

Detail image of slip slidin'



Aldwyth's art was review by Nick Smith, and specifically about the piece “Slip-Slidin’ Away” he said:
“If time is on Aldwyth's side, it's the time to do what she wants instead of what she thinks other people want to see. "Slip-Slidin' Away", a new collage exhibited in her inventive, eclectic solo show at the Halsey, is a good example of this. It has a gray border made up of numerical representations of each year of her life. Gusting Philip Guston heads send wind from each corner of the canvas. In the center, a large cloud is packed with people and objects that Aldwyth likes, such as artists, buildings, Dada, and more Guston images.”

Philip Guston

Philip Guston (June 27, 1913 – June 7, 1980) was a notable painter and printmaker in the New York School, which included many of the Abstract expressionists, such as Jackson Pollock and Willem De Kooning. In the late 1960s Guston helped to lead a transition from Abstract expressionism to Neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects.
Philip Guston and Aldwyth are similar in their somewhat aesthetic musings about separation and association with the world. The ideas represented in Philip’s paintings parallel some of the concepts in Aldwyth’s.
Picture of Guston’s 1975 “Head and a Bottle” (referred to in the corners of Aldwyth’s collage)
guston.jpg Untitled.jpg

The Slip 'n Slide

The Slip 'n Slide was a toy first marketed by Wham-O in 1961. It is a long piece of plastic with tubes on either side out of which water can flow after being attached to any ordinary garden hose. Because of the water, the plastic becomes slippery allowing the participant to slide the length of the plastic.
Safety: A Slip 'n Slide should only be used by children because of neck and back injuries in tennagers and adults. Injuries occur because people heavier or taller than children might stop suddenly when diving onto the toy.
(Source: -'n_Slide )