February 12th, 2024
Lomex, La Boheme, Joseph Geagan
On view : February 3 - March 2, 2024
A sardonic tongue-in-cheek lens aimed at the hyper current zeitgeist. Satire poking at the underbelly of clout culture, chichi trends and societal dissonances. It’s fun, click-baity and forgettable - as is the essence of many characters it depicts. The compositions of all the paintings are not stylistically unified and are mostly referential, perhaps alluding to a monkey-see monkey-do mentality that increasingly plagues the collective noosphere. The Fabulist pays homage to James Ensor’s Self Portrait with Masks (1899), rehashing the relevancy of yesteryear’s themes that transcend time by remaining bound to society’s tendrils. Amidst the deluge of chaotic disproportionate faces with complexions ranging from ghastly greys, to absinthe-fevered blues and streetlight oranges, is as an unnerved auto-portrait of the artist with a showman top hat. An addition by Geagen - a red eyed lamb, a humorous stand in for lapsing purity. The nonchalant “Alice in Wonderland” cat sourced from Ensor’s original painting makes a recurring appearance in another portrait, once again used to underline it’s absurdity. A couple pieces are quite stiff, posed “instagrammified” portraits including one of the gallery owner himself - Alexander Shulan, another of two women performatively reading. A down and out, scenester, Hieronymus Bosch-esque “Where’s Waldo” follows, along with a party scene version depicted in the same vein. Other various degrees of degradation and degeneracy are explored. “Succubi of New York and LA'', reads the press release, a punchy one-liner that encapsulates the whole show. Visually reminiscent of Chloe Wise paintings - perhaps touch more genuine or if you’re having a bad trip.
On view : February 3 - March 2, 2024
A sardonic tongue-in-cheek lens aimed at the hyper current zeitgeist. Satire poking at the underbelly of clout culture, chichi trends and societal dissonances. It’s fun, click-baity and forgettable - as is the essence of many characters it depicts. The compositions of all the paintings are not stylistically unified and are mostly referential, perhaps alluding to a monkey-see monkey-do mentality that increasingly plagues the collective noosphere. The Fabulist pays homage to James Ensor’s Self Portrait with Masks (1899), rehashing the relevancy of yesteryear’s themes that transcend time by remaining bound to society’s tendrils. Amidst the deluge of chaotic disproportionate faces with complexions ranging from ghastly greys, to absinthe-fevered blues and streetlight oranges, is as an unnerved auto-portrait of the artist with a showman top hat. An addition by Geagen - a red eyed lamb, a humorous stand in for lapsing purity. The nonchalant “Alice in Wonderland” cat sourced from Ensor’s original painting makes a recurring appearance in another portrait, once again used to underline it’s absurdity. A couple pieces are quite stiff, posed “instagrammified” portraits including one of the gallery owner himself - Alexander Shulan, another of two women performatively reading. A down and out, scenester, Hieronymus Bosch-esque “Where’s Waldo” follows, along with a party scene version depicted in the same vein. Other various degrees of degradation and degeneracy are explored. “Succubi of New York and LA'', reads the press release, a punchy one-liner that encapsulates the whole show. Visually reminiscent of Chloe Wise paintings - perhaps touch more genuine or if you’re having a bad trip.