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.