Lyles and King, March 1 – April 7, 2019
There is magical realism when reality in a work slips into reverie. Aaron Gilbert’s Psychic Novellas strobe between unflinching social realism and nightmare.
Like Gothic altarpiece, Neue Sachlichkeit, and George Tooker, careful brush strokes built meticulously, one clipped touch next to or on top of another, riddle the surface with vibrating anxiety, a sometimes obsessive, sometimes hastened application imbuing each painting with schizophrenic, violent energy.
Narrative is the blood of these paintings. It courses within screaming and whispering trauma, abuse, oppression, sex, violence. One story here is not hopeless, the motif of the child present as either ghost, pregnant belly, interior keyboard player, or 3/4th’s regal standing portrait.
The painting I wish was the best is the above image of the artist holding a child, on Gilbert’s head is a crevice moon scar suggesting a healed, gnarly surgery. I wish it was the best because it is so hopeful, but where the artist truly sings is within nightmare, like he has experienced too much of it and become it, like the swirling dead eyes of the people he paints belong only to him.
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