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.
Rey calls them “ibjects” – hybrids, that is, between images and objects. Their oil-painted surfaces give the sense that they are “of” extant things in the world, the way images are, but their semi-industrial shapes suggest that they themselves have been pulled out of our normal object-world. You could call them “imaginary ready-mades” – The idea that they are imaginary and contingent is reinforced by their extreme fragility: their oil paint is applied on top of a soft and fleshy layer of plasticine.
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.
Contacted the head of his collection in Israel. Toured his old atelier, which is now a museum. Browsed some works on paper in storage, and purchased a piece! It shows the element of the grid – the parallel lines and the criss-cross lines – a recurrent everyday framework that is present throughout Kupferman’s oeuvre. It also demonstrates his Free Variations, exposing the performative-musical dimension of his painting: elements appear, disappear, and reappear, and in the process bring about the creation of a rhythmic and melodious practice that is the artist’s unique language.