Nicholas Hatfull: Tofu Dealer (to kill my hunger in daytime wander)
Josh Lilley is pleased to present Tofu Dealer (to kill my hunger in daytime wander), Nicholas Hatfull鈥檚 second solo exhibition at the gallery.
Hatfull is a thinker in the flaneur tradition, an urban rambler with an open, kinky, catholic eye. His paintings of modern life, via all the things that aren鈥檛 people, are both dissociative and total. Over here they are brushy and impressionistic, as if a grazed encounter or gauzy memory; over there as direct as advertising, sharp and clear for cultureless commercial sear. He makes room on a single canvas for these forms, textures and attitudes to collide. And between these elements is the residue they leave upon each other, us, and the world.
Hatfull鈥檚 new paintings reveal the artist鈥檚 most experimental inclinations, a restless reshuffling of elements (furniture foam, food containers from chain restaurants, Magnum ice creams, playground structures, etc.) through which the artist calibrates a personal offbeat, absurdist lyricism. Stains are important鈥攖hey speak of forms revealing themselves and consuming themselves at the same time. Vessels are important鈥攖hey hold a charge. In a series of so-called Bain-Marie sculptures exhibited alongside the paintings, tumbles of nested fast-food hot-pot tubs romantically swirled with paint represent creation, emergence, as well as absolute gluttony and waste. It鈥檚 a turbulent business, life. The exhibition is accompanied by a 64-page zine of visual reference points and an extended artist鈥檚 text, Feast of burden, about Yasujiro Ozu, David Hammons and McDonald鈥檚.
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Josh Lilley is pleased to present Tofu Dealer (to kill my hunger in daytime wander), Nicholas Hatfull鈥檚 second solo exhibition at the gallery.
Hatfull is a thinker in the flaneur tradition, an urban rambler with an open, kinky, catholic eye. His paintings of modern life, via all the things that aren鈥檛 people, are both dissociative and total. Over here they are brushy and impressionistic, as if a grazed encounter or gauzy memory; over there as direct as advertising, sharp and clear for cultureless commercial sear. He makes room on a single canvas for these forms, textures and attitudes to collide. And between these elements is the residue they leave upon each other, us, and the world.
Hatfull鈥檚 new paintings reveal the artist鈥檚 most experimental inclinations, a restless reshuffling of elements (furniture foam, food containers from chain restaurants, Magnum ice creams, playground structures, etc.) through which the artist calibrates a personal offbeat, absurdist lyricism. Stains are important鈥攖hey speak of forms revealing themselves and consuming themselves at the same time. Vessels are important鈥攖hey hold a charge. In a series of so-called Bain-Marie sculptures exhibited alongside the paintings, tumbles of nested fast-food hot-pot tubs romantically swirled with paint represent creation, emergence, as well as absolute gluttony and waste. It鈥檚 a turbulent business, life. The exhibition is accompanied by a 64-page zine of visual reference points and an extended artist鈥檚 text, Feast of burden, about Yasujiro Ozu, David Hammons and McDonald鈥檚.
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