PASTICHE CICERO
Fitzroy Gallery, 03/05/2014 - 04/20/2014
ABOUT
Fitzroy Gallery is pleased to announce "Pastiche Cicero", an exhibition by New York artist Timothy Hull. This is his first solo exhibition at the gallery.
"Pastiche Cicero" is an aesthetic field trip undergoing an archeological dig. Featuring lyrical and graphic motifs from antiquity and the contemporary, the exhibition is comprised of new highly textured oil paintings; densely detailed blue gel pen drawings; bold, colorful minimal wall murals; and readymade sculptural elements.
Hull's source material is the written detritus of disregarded, disintegrated wall graffiti, ruins, incidental letters and pictures from the walls of Pompeii and the Athenian Agora. This visual vocabulary evidences the entropy of language with work that is conservative and subversive, Classical yet cheeky.
The work explores ideas of representation, reproduction, cultural appropriation and recycling. Hull’s paintings of Greco-Roman vessels, ruins, scribbles and scratches of undetermined meaning are fetishistic and laborious in terms of the physical application of the paint while Hull's flat wall silhouettes of palm trees and phallic urns are automatic, playful and decidedly perverse. Sculptural elements include reproduction Jasperware vases (often seen in museum gift shops and Greek diners) and a urinal installation with homoerotic graffiti entitled “Reel Around the Fountain” that winks at Duchamp and Morrissey.
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Fitzroy Gallery is pleased to announce "Pastiche Cicero", an exhibition by New York artist Timothy Hull. This is his first solo exhibition at the gallery.
"Pastiche Cicero" is an aesthetic field trip undergoing an archeological dig. Featuring lyrical and graphic motifs from antiquity and the contemporary, the exhibition is comprised of new highly textured oil paintings; densely detailed blue gel pen drawings; bold, colorful minimal wall murals; and readymade sculptural elements.
Hull's source material is the written detritus of disregarded, disintegrated wall graffiti, ruins, incidental letters and pictures from the walls of Pompeii and the Athenian Agora. This visual vocabulary evidences the entropy of language with work that is conservative and subversive, Classical yet cheeky.
The work explores ideas of representation, reproduction, cultural appropriation and recycling. Hull’s paintings of Greco-Roman vessels, ruins, scribbles and scratches of undetermined meaning are fetishistic and laborious in terms of the physical application of the paint while Hull's flat wall silhouettes of palm trees and phallic urns are automatic, playful and decidedly perverse. Sculptural elements include reproduction Jasperware vases (often seen in museum gift shops and Greek diners) and a urinal installation with homoerotic graffiti entitled “Reel Around the Fountain” that winks at Duchamp and Morrissey.