Your Custom Text Here
MARCH 7 - APRIL 18, 2020
Everybody Is Here is an exhibition of small works evidencing the artist’s insistent attraction to sentiment, and interest in empathy and our commonalities. The two strains of work presented here - drawings of dogs and paintings of toy packaging - offer images that we recognize and respond to, whether we are holding any art credentials or not.
“The small paintings duplicate a stash my mother preserved, of action figure backing cards from the most omnipresent film. All of us, we had these things. I consider our shared memories, and examine the beautiful record: the removal of the plastic from the cardboard, the cutting of the proof-of-purchases, the price sticker from long-vanished discount store chains. The drawings of sad dogs depict them in the immediately relatable manner. They have notions the same as ours, it’s an old tactic that will never die. They reflect the wounding of the spirit that any reasonable, sensitive person has been enduring. These works are an installment in a longtime process of questioning where the thresholds are regarding kitsch, and where the margins might be, when art wants to appeal to the many. These works are meant to wonder, just as one of these sorrowful doggies might: how well can things meet the qualifications of art, while still talking about what maybe all of us go through?” - Paul Mullins
MARCH 7 - APRIL 18, 2020
Everybody Is Here is an exhibition of small works evidencing the artist’s insistent attraction to sentiment, and interest in empathy and our commonalities. The two strains of work presented here - drawings of dogs and paintings of toy packaging - offer images that we recognize and respond to, whether we are holding any art credentials or not.
“The small paintings duplicate a stash my mother preserved, of action figure backing cards from the most omnipresent film. All of us, we had these things. I consider our shared memories, and examine the beautiful record: the removal of the plastic from the cardboard, the cutting of the proof-of-purchases, the price sticker from long-vanished discount store chains. The drawings of sad dogs depict them in the immediately relatable manner. They have notions the same as ours, it’s an old tactic that will never die. They reflect the wounding of the spirit that any reasonable, sensitive person has been enduring. These works are an installment in a longtime process of questioning where the thresholds are regarding kitsch, and where the margins might be, when art wants to appeal to the many. These works are meant to wonder, just as one of these sorrowful doggies might: how well can things meet the qualifications of art, while still talking about what maybe all of us go through?” - Paul Mullins