“ROID CYCLE” curated by Crack Gallery
Zak David
Nick Atkins
Peter Paquin
Jeff Halladay
9月20日（木）- 10月6日（土）
この度、GALLERY TARGETではCRACK GALLERY(カナダ)によるキュレーションの元、ジェフ・ハラデイ、ザック・デビット、ニック・アトキンス、ピーター・パキンによるグループ展を開催致します。
2017年にCRACK GALLERYで開催された“ROID CYCLE”。今回、東京で開催される“ROID CYCLE”ではシュルレアリズム、フォークアートやポップアートから影響を受けた4人の作品を同時に展示します。それぞれが独自、特異な視点から制作した立体物、ドローイング、ペインティング、違うメディアムを通しても一定のボンディングを共感させてくれます。これらの作品は室内に引きこもり描き続けた一年間の結果であり、内面性、夢の光景、日常がテーマとなっています。家やスタジオ、自分自身の心の中に棲み続け、精神的な崇高さを追求する強迫観念にとりつかれた様子が表現されています。アーティストに限らず、家やスタジオ(仕事場)は記憶や経験を自己処理出来る場所です。カオスなストリート、様々な経験、ある瞬間、それら全てが反映されていきます。「内」が必ずしも安全な場所ではなく「外」にも夢がありストーリーがある事を伝える展覧会となっております。
“ROID CYCLE” curated by Crack Gallery
9月20日（木）- 10月6日（土）
＊オープニング9月20日（木）19 - 21時
オープン：12-19時 （日・祝日休廊）
ピーター・パキン
1979年生まれ
ニューヨーク生まれ、在住
シュプリームのデザイナーでありアーティストでもあるパキンは小さい頃から齧歯動物に興味を持ち、常にネズミをモチーフとしたペインティングやインスタレーションを制作。パキンにとってネズミは広いメタファーとアレゴリーの可能性を持つモチーフであり、言葉としても「アート」と「ラット」、謎めいたアナグラムを表現できるモチーフである。多くのドローイング、ペインティング、収集したネズミのイメージ、写真、コミック、グラフィック・デザインなどからパキンはネズミがカルチャー的に与える影響を探っている。これら調査の結果、たくさんのストーリーが出来それを「バーマン」呼んでいます。
ザック・デビット
1972年生まれ
バンクーバー在住
シュプリームとウィルスのデザイナーでありアーティストであるデビットのインスタレーションやドローイングは幼少期に見た70年代特有のカルチャーからインスタレーションを受けている。70年代の冷蔵庫マグネットを大きくした木製のレリーフやその頃の水族館にあった物のドローイングや彫刻を制作している。マグネットに刻まれている言葉はモチーフとともに、ユーモア、政治的メッセージ、社会的な主張、アングラなフレーズなど時に大胆でもあり愉快でもあります。
ニック・アトキンス
1973年生まれ
バンクーバー在住
シュプリームのデザイナー、8 Ball Zinesの一員でもあるアーティスト
アトキン、スタジオベースのアートからビデオ、商業デザインまで、幅広いメディアで活躍しているが、全ての作品は同じ言語を共有しています。近年、アトキンスは架空の物語「ハンジーパーティー」を制作、それを元に彫刻作品を作成しています。
ジェフ・ハラデイ
映像作家のハラデイの "zone fragments"という作品は、20年にわたるスケッチブックの中身を集結させた作品です。 コミックブック、パルプ小説、アルバムカバー、フィルムポスターに触発されたこれらのスケッチブックには、無作為に塗りつぶされたページ、始まりも終わりもないものです。 順序や関連性のないものを繋げる事でフランケンシュタインのような物語を制作。 死までのハラデーの試みは常に違うものを生み出していきます。
“ROID CYCLE” curated by Crack Gallery
Zak David
Nick Atkins
Peter Paquin
Jeff Halladay
September 20th (Thur) - Oct. 6th (Sat)
GALLERY TARGET
GALLERY TARGET along with CRACK GALLERY is pleased to announce “ROID CYCLE”, a group exhibition of new works by Jeff Halladay, Zak David, Nick Atkins and Peter Paquin.
The second Iteration of “Roid Cycle” presents artworks influenced by Surrealist, Folk and Pop sources. While each artist brings their own idiosyncratic and personal point of view to this show, the sculptures, drawings and paintings shown here share a certain bond. Interiority, dreamscapes and home life are key subject matters found here because these artworks are the end result of years of solitary practice spent indoors. They detail personal obsessions where all avenues are exhausted in the pursuit of an interior sublime, be it the interior of the house, the studio or of the mind. Artist or not, the home or studio is where we translate and process our memories and experiences of the outside. Its where the chaos of the streets and all that is experiential, moments caught in time’s flux become palatable through reflection and study. These artists show that in processing the experiential the “inside” may not always be a safe place and that the “outside” can also be just as pregnant with dreams and narrative projection.
“ROID CYCLE“ curated by Crack Gallery
September 20th (Thur) - Oct. 6th (Sat), 2018
* Opening reception on Thursday Sept 20th 7-9pm
Open 12-7 pm
Closed on Sunday & Holiday
Peter Paquin
(b.1979) lives and works in New York City
In Peter Paquin’s Paintings and Installations his central motif of a/the rat(s) serve as a continuation of a decades long obsession with the rodent, tracking from Paquin’s adolescence
into his present day adult life. Rats bear tremendous capacity for metaphor and allegory and for
Paquin these strong associations present productive possibilities for artistic creation, the very
word ‘rat’ being a puerile anagram of the word ‘art’. Through exhaustive drawing, painting and
extensive collection of images of rats represented in art, photographs, comics, graphic design
and other mediums Paquin has examined the cultural consequences of the rats inherent
signification. The culmination of this examination is the metanarrative pastiche that he has
dubbed Verman.
Zak David
(b.1972) lives and works in Vancouver, BC Canada
Zak David’s installation of sculptures and drawings are inspired by the 1970s vernacular culture he consumed as a child in the seventies. The sculptural relief works on the walls replicate scaled up versions of popular fridge magnet designs while the drawings and sculptures draw inspiration from aquarium sculptures from the same period. The magnets display words and images that combine a curious mix of feel good aphorisms, political satire and social commentary, counter-cultural catch phrases as well as crude and humour. During the 70’s they were found in the homes of hip consumers and presented a precarious view of humanity. This new cool cynicism could also be understood as a light hearted dig at the previous decade’s earnestness. The seventies were a period of moral and social free fall. “Peace and Love” were hard to come by after the re-election of Richard Nixon and the following recession. This critical and reactionary period in the culture manifested in many ways from the blossoming of gothic imagery in Heavy Metal to the cynicism of the Punk Movement. If the 60s presented a model of the self that was rooted in ideals of social collectivism and self-actualisation then the 70s represented a turn towards a doubt fueled and frustrated introspection where these values were met with ironic contempt and lampooned. At the same time, protest and radicality were no longer the domain of academics and longhairs but found their way to suburbia. This appropriation, co-option and domestication of countercultural aesthetics and ideas represented both a triumph and a failure. David’s work here focuses on this domesticated form of protest and social commentary that satirized and celebrated in a Hogarthian way, the foibles and failures of society. Similar to the magnet sculptures, David’s aquarium inspired works are also derived from his memories of domestic spaces in the 1970s and into the 1980s. Here there is a synthesis of both the gothic and psychedelic but in miniaturized form. To make a thing small is to control and understand it, like a model. These models populated aquatic and vertiginous spaces of projection for the stoned teenager to contemplate in their bedroom. When one already feels like a ruin then why not celebrate the aesthetics of ruin in everyday life? Here we have the horror of the deep contained and domesticated. A world strewn with Day-Glo painted relics, fantastic and absurd in their dark watery surroundings. A temporary relief from the bright and cold techno-utopia on the outside.
Nicolas Atkins
Nicolas Atkins is a multidisciplinary artist living and working with New York City as a base for the past 19 years.
Nick works in a wide range of mediums, from studio based arts, to video to commercial design, yet his work maintains a similar language throughout that is definitively his own.
Most recently, Atkins has been using his ongoing fictional narrative script: "HANJI PARTY" as a vehicle to create sculptural artworks which illustrate and reveal the strange worlds he has been developing.
Jeff Halladay
(b. 1973) lives and works in Vancouver, BC Canada.
Jeff Halladay’s works titled “zone fragments” are a most recent distillation of ideas squeezed from two decades of daily sketchbook meditations. Drawings in these sketchbooks inspired by Comic books, pulp novels, album cover art and film posters inform the pages filled at random, no beginnings and no unnecessary end. The result is an out of sequence timeline that reveals the thread that sews the Frankenstein narrative together. Experimental till death Halladay’s results vary from one distillation to the next.