Stockton’s energetic paintings build upon different mythologies, combining elements of Western religion with literary symbolism and historical events into a singular narrative language. These allegories are meditations upon the genesis of myth and memory. When the primary subject, a male figure comically nude except for a superhero’s cape, strides off with a naked woman slung over his shoulder, it is left unresolved whether the act is one of abduction or salvation. Unlike the singleminded crusaders of popular fiction, Stockton’s stumbling Everyman is continually caught between morality and depravity.
Each mark has been debated, questioned, and quickly painted over if found inadequate. The scarred and layered surfaces that result are an act of revealing, not hiding. Their sophistication is balanced with vulgarity, strength tied to fragility, morality tempered with corruption. De Kooning-esque surfaces slowly reveal tired, huddled masses and amorous antagonists.
There is something so harrowing about staring into Bontecou’s sculptures. They are at once primordial and other worldly, projecting outward and eerily enveloping you, overwhelming you. Her seemingly bottomless black holes reflect no light and no life, and yet, they are self referential — representing life itself as boundless and limitless.
Jonas Wood’s paintings of contemporary American life blur the boundaries of figuration and abstraction. Interior scenes dissemble into a myriad of shapes, colors, and geometric pattern; their quiet formal tension setting the tone for Wood’s suburban subject matter. Using the domestic as a departure point for escapism, the claustrophobic composition expands into the internal space of daydream, with the muddied TV screen and stylized furnishings set like stage props against a backdrop of hallucinogenic jungly wallpaper. Giving nod to historical precedent, the masks and tabular design evoke connotation to Picasso’s primitivism and surrealism.
the first year we launched GRAPHITE, one of the successful artist submissions was work by emerging artist Allison Schulnik — already known for her directorial efforts with band Grizzly Bear in their video Ready, Able. her pieces were incredibly animated with their layers of impasto.