GROUP SHOWS & OTHER STUFF
Cosmic Consciousness & The Politics of Punk Rock Art
Copyright 2010 Charles Wish
"In properly organized groups no faith is required; what is required are simply truth and a little trust."
-- George Gurdjieff“Well that's our responsibility… to dig up sore spots and that kinda shit; that's what wakes you up… that’s what gets you listening." -- Lee Ving
When kept to myself I tend to produce a series of pieces focused on a central concept. The entire decision making process in this scenario is almost solely left up to me. However, I do sometimes get involved in various group showings and commission projects where the decision making is then placed in the direct company of other’s opinions and tastes. This gallery is dedicated to some of that work.
So far most of the work I’ve exhibited in these group shows has been billed as Lowbrow or Pop Surreal. Trendy labels like this fascinate me. And while I’ve nothing against either of these descriptions -- for me they are (and most likely will remain to be) legitimate ways to describe a tremendous catalogue of stunning visual mastery -- they’re not exactly the words I would first choose to designate the imagery on display at these viewings. Call me stubborn, but for me the work always just seemed to be a continuing expression of what the kids refer to as: “Punk Rock.”
Directly poking their brushes in the face of pseudo political-correctness, unapologetically taking on the hypocrisy of complex social issues like organized religion, and behavioral normalcy, all while being executed to a degree of technical skill and expertise that really wasn’t necessary to get the point across, but didn’t care anyway… a near perfect blend of provocation, truth, and audacity. Things like this and more made me feel that these were exactly the sort of paintings that should’ve adorned the walls of Fender’s Ballroom. If only mustache John would’ve been willing to afford them.
The other thing I noticed about the images exhibited on these occasions was their strong metaphysical undercurrent. The ability to courageously confront death and morbidity has always been an integral part of any resolute spiritual practice. And, much of the work displayed at these showings humbly (yet unapologetically) embraced this hard-knock fact with tremendous poise and know-how.
Everybody is a supernatural somebody. And I certainly don’t mean that in some new-agey Pollyanna sense. You are the first and last wonder of the world, a never-ending extension of the one and only cosmic-conscious continuum. However, the road to coming to terms with that existential situation certainly isn’t all rainbows and singing monks.
What’s more, transcending (not avoiding) the uncomfortable things that trigger us, something that has to happen if we want to get anywhere with understanding our whole-selves, is never easy. And, celebrating the harsher unattractive side of life in a way that points toward the light is often just as demanding. Tempering this sort of confrontational shock medicine with the sincerest compassion is something much of the work in these shows delivered flawlessly… which for me, is even more of what the best of Punk Rock is all about.
Anyhow, however you choose to describe or label the work herein is ultimately up to you. There’s nothing necessarily concrete about it. But what I do know for certain is this: the images featured in this gallery represent a really potent time of growth and expression for me and I will forever be grateful for that. It wasn’t always trouble-free and certainly wasn’t always orgasmic… but it was most definitely worthwhile. And it is my sincerest hope that everyone who graciously allowed and accepted my participation in these group offerings got just as much out of them as I did.
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Titles & Descriptions
The images here vary widely in subject and theme and roughly span a time period of 2005 up to the present.
Paintings:
1) Title: The Hypothesis of Linda Keith. (2016)
Dimensions & Medium: 44x63 in. -- Oil on Canvas.
Description: No description provided.
2) Title: Parson Al’s Fable. (2005)
Dimensions & Medium: 30x48 in. -- Acrylic on Canvas.
Description: “Static Cinema” group show -- C-Pop Gallery, 2005
3) Title: Yama & The Dead of Antietam. (2012)
Dimensions & Medium: 30x36 in. – Oil on Canvas.
Description: Yama (the lord of death) discerning souls of the American civil war. “Juxtapoz 18,” group show -- Copro Gallery, 2012.
4) Title: Yami Crushing Flowers. (2012)
Dimensions & Medium: 18x24 in. – Oil on Canvas.
Description: Yami (the mistress of death) taking advantage of industrial technology. “Dark-Pop,” group show -- Last Rights Gallery, 2012.
5) Title: Apocalyptic Popcorn. (2006)
Dimensions & Medium: 33x48 in. -- Acrylic on Canvas.
Description: Secular Bravado against the certainty of ecumenical doom.
“Nostradamus” group show -- Copro Gallery, 2006
6 -9) Title: Selected Background Stills for Dead Meadow’s “Three Kings” film. (2010)
Dimensions & Medium: All 18x24 in. – Acrylic on Canvas.
Description: All six of these pieces were produced as backgrounds for the animation sequence in the live concert film “Three Kings” from the band Dead Meadow. They borrow from a diverse range of influences including: Arnold Böcklin, Grant Wood & Theodor Kittelsen.
10) Title: Song of Solomon. (2011)
Dimensions & Medium: 26x26 in. – Oil on Canvas.
Description: A commentary on the fine line between lust & unconditional love. This piece features a farmer who is confronted and moved by the magnificence of nature on a daily basis, but can never interpret such without being diluted by the wanton object of his superficial yearning. “Geneses to Revelations,” group show -- Copro Gallery, 2011.
11) Title: Tom Dooley & The Garuda Lion. (2012)
Dimensions & Medium: 15x20 in. – Oil on Wood.
Description: Mr. Dooley explains his position to a sympathetic presence.
12) Title: Saint Benedict & The Riddle of Celibacy. (2016)
Dimensions & Medium: 27x27 in. – Oil on Canvas.
Description: No description provided.
Drawings:
1) Title: “Cassandrian Exodus” Fiver’s Foresight & The Long Hare of Death-1. (2011)
Dimensions & Medium: 18x26 in. (apprx.) Graphite, Ink & Watercolor on Paper.
Description: This is the center piece in an ensemble of 5 images that revolve around R. Adams’ story: “Watership Down." These were included in the group show (curated by Greg Simkins for Gallery 1988) entitled: "INLE.” They feature four drawings of rabbits from various social castes: Aristocracy, Priestly, Merchant and Peasant. I used traditional playing card suits (which is what they originally represent) to symbolize each of these classes. I also show these various suits sealed in jars to demonstrate that each of these four rabbits feel safe and secure in, but are existentially limited by their social roles. However, in the fifth/central drawing we see Fiver (the visionary of the story) challenged by the presence of death & class which he must negotiate and transcend if he is to fulfill his destiny. Finally, I’ve included the temple serpents (from the original Cassandra) licking Fiver’s ears clean and therefore providing him with the unfathomable, yet driving vision of things to come.
2) Title: “Cassandrian Exodus” Fiver’s Foresight & The Long Hare of Death-2. (2011)
Dimensions & Medium: 5 ½ x 9 ½ in. Graphite, Ink & Watercolor on Paper.
Description: Aristocracy caste.
3) Title: “Cassandrian Exodus” Fiver’s Foresight & The Long Hare of Death-3. (2011)
Dimensions & Medium: 6 ½ x11 ½ in. Graphite, Ink & Watercolor on Paper.
Description: Merchant caste.
4) Title: “Cassandrian Exodus” Fiver’s Foresight & The Long Hare of Death-4. (2011)
Dimensions & Medium: 6 ½ x11 ½” Graphite, Ink & Watercolor on Paper.
Description: Priestly caste.
5) Title: “Cassandrian Exodus” Fiver’s Foresight & The Long Hare of Death-5.(2011)
Dimensions & Medium: 8 ½ x 13 ½ in. Graphite, Ink & Watercolor on Paper.
Description: Peasant caste.
6) Title: Krampus & The Ghost of Christmas Past. (2004)
Dimensions & Medium: 18 x23 in. Graphite, Ink & Watercolor on Paper.
Description: “Krampus Christmas Show” group show piece -- Copro Gallery.
7) Title: Chance Dances With Cars. (2008)
Dimensions & Medium: 16x16” in. Graphite & Watercolor on Paper.
Description: A Hotrodder’s continuation on Grant Wood’s “Death on the Ridge Road,”
“Carnivoria” group show piece -- L’imagerie Gallery.
8) Title: The Taste of Fuzzy Dice. (2008)
Dimensions & Medium: 16x23 in. Graphite & Watercolor on Paper.
Description: “Carnivoria” group show piece -- L’imagerie Gallery.
9) Title: The Burden of Modern Mobility. (2008)
Dimensions & Medium: 15x23 in. Graphite & Watercolor on Paper.
Description: “Carnivoria” group show piece -- L’imagerie Gallery.
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