MASSIMO
AUDIELLO
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Adams,
Cerrillo, Perkins
The show will open on Friday, March 28, 2003 and will run through May 3.
MASSIMO AUDIELLO
526 West 26th Street
No.519
New York, NY 10001
212.675.9082 TEL
212.675.8680 FAX
audiello@msn.com
http://www.massimoaudiello.com
image: Jose Leon Cerrillo, "I Couldn't See the Dolphins" (detail),
2002,
Denim, paint pours, 120"x 60"
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Adams, Cerrillo, Perkins
Massimo Audiello is pleased to present a group exhibition featuring the
work of Derrick Adams, José León Cerrillo, and George Perkins. The
show
will open on Friday, March 28, 2003 and will run through May 3.
In this energetic show of painting, sculpture, and photography, serious
questions spring from playful responses to an out-of-balance world.
Adams uses a variety of media to show the shape-shifting force of
popular
culture in our lives, and how, especially in the city, the fantastical
and
the mundane mingle to make us the more-than-human creatures we are. For
this exhibition he will create an unusual back-stage environment, where
heroic and freakish costumes hang on the racks and the viewer is free to
play and explore. Are we the children waiting for our super-heroes to
arrive, or is it ourselves being challenged to don the costumes and
perform?
Cerrillo creates painting-based environments that merge the
skateboard
shop with the artist’s studio. His materials can include canvas,
formica,
whiskey and deer-hide. And the acrylic paint finds itself in both
conventional and unconventional places. The relation between these
objects and the paint is surprisingly formal, but it is also like a
personality caught in the act, laid bare by revealing gestures, and we
can’t help but spy a dubious secret-life that is colorful, vain,
and
mischievously despairing. It is an envious relationship, where things
pretend to be paintings and paintings pose as things, and it is
difficult
to tell which is more jealous of the other.
Perkins’ photos; an elegant series of dented auto-bodies,
brings the
urban-mundane to the point of abstraction, but the process is left
deliberately open. The images look like coolly collected evidence,
perhaps
the secret documents of a crash-test, and at the same time they are
possessed of an intellectual beauty that is undeniably warm. In
contrast
to the message that a car is magical space where comfort and control
marry
adventure and surprise, Perkins gives us something severe as a monument
and deeply uninhabitable.
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