"Crooked as a Dog's Hind Leg" marks Mike Davis' third solo show with 111 Minna. The imagery thematically reflects the political and social divide in America and the world today, while also dealing with the idea of human vice.
Davis renders complex paintings embedded with symbols of mortality, folly, and hubris in the style of the Netherlandish Flemish Primitives such as Bosch, Bruegel and van Eyck.
His work creates an alternate world where anything is possible. Combining arcane personal symbology with social commentary, Davis' paintings depict a world of myth and colliding timeframes, a land "on the other side of the bridge," but one that resonates with our own--not as memory but as a dream.
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[A note from the artist, Lee Harvey Roswell, about his new work for Wild World]
Wild World grows out of work I was originally calling, The Birthday Party Hits. These are oil paintings conceived through the interpreting of various songs by legendary Australian post-punk band, The Birthday Party. Though Nick Cave would go on to be known more for creating darkly poetic yet narrative tales in his later work, his youthful writing for The Birthday Party is like wild delirious sketches, lines like quick stabs. I set out to play off those lines as much as possible while coming up with my interpretations to the band's songs.
From the mental illness and down-and-out destitution of King Ink, the drug-fueled and fetishized eschatological fantasy in Wild World, the bedroom betrayal and hot-blooded murder in 6´´ Gold Blade, Sonny's Burning, with it's all-consuming ritualistic sacrifice, the victim's phantasmal revenge in The Killed Waits for the Killer (Deep in the Woods), or the ambiguous nature of a stranger in Friend Catcher... the images and themes culled from those obscure songs were irresistible.
Beyond the Birthday Party Hits-end of Wild World, I've continued parading humanity's underbelly with classic bloody scenes like those in Bacchae and Trusty John, the lonely metamorphosis of an addict in Junk Scene, and a sadistic treat called, Pop-Psycho. I've also included new collage work to compliment and round out the horror show. Incompetent monster-dictators, violin-faced war-mongers, diseased saints, and a revolution in hell. - LHR
show less
Davis renders complex paintings embedded with symbols of mortality, folly, and hubris in the style of the Netherlandish Flemish Primitives such as Bosch, Bruegel and van Eyck.
His work creates an alternate world where anything is possible. Combining arcane personal symbology with social commentary, Davis' paintings depict a world of myth and colliding timeframes, a land "on the other side of the bridge," but one that resonates with our own--not as memory but as a dream.
--------------------------------------------------------------
[A note from the artist, Lee Harvey Roswell, about his new work for Wild World]
Wild World grows out of work I was originally calling, The Birthday Party Hits. These are oil paintings conceived through the interpreting of various songs by legendary Australian post-punk band, The Birthday Party. Though Nick Cave would go on to be known more for creating darkly poetic yet narrative tales in his later work, his youthful writing for The Birthday Party is like wild delirious sketches, lines like quick stabs. I set out to play off those lines as much as possible while coming up with my interpretations to the band's songs.
From the mental illness and down-and-out destitution of King Ink, the drug-fueled and fetishized eschatological fantasy in Wild World, the bedroom betrayal and hot-blooded murder in 6´´ Gold Blade, Sonny's Burning, with it's all-consuming ritualistic sacrifice, the victim's phantasmal revenge in The Killed Waits for the Killer (Deep in the Woods), or the ambiguous nature of a stranger in Friend Catcher... the images and themes culled from those obscure songs were irresistible.
Beyond the Birthday Party Hits-end of Wild World, I've continued parading humanity's underbelly with classic bloody scenes like those in Bacchae and Trusty John, the lonely metamorphosis of an addict in Junk Scene, and a sadistic treat called, Pop-Psycho. I've also included new collage work to compliment and round out the horror show. Incompetent monster-dictators, violin-faced war-mongers, diseased saints, and a revolution in hell. - LHR
"Crooked as a Dog's Hind Leg" marks Mike Davis' third solo show with 111 Minna. The imagery thematically reflects the political and social divide in America and the world today, while also dealing with the idea of human vice.
Davis renders complex paintings embedded with symbols of mortality, folly, and hubris in the style of the Netherlandish Flemish Primitives such as Bosch, Bruegel and van Eyck.
His work creates an alternate world where anything is possible. Combining arcane personal symbology with social commentary, Davis' paintings depict a world of myth and colliding timeframes, a land "on the other side of the bridge," but one that resonates with our own--not as memory but as a dream.
--------------------------------------------------------------
[A note from the artist, Lee Harvey Roswell, about his new work for Wild World]
Wild World grows out of work I was originally calling, The Birthday Party Hits. These are oil paintings conceived through the interpreting of various songs by legendary Australian post-punk band, The Birthday Party. Though Nick Cave would go on to be known more for creating darkly poetic yet narrative tales in his later work, his youthful writing for The Birthday Party is like wild delirious sketches, lines like quick stabs. I set out to play off those lines as much as possible while coming up with my interpretations to the band's songs.
From the mental illness and down-and-out destitution of King Ink, the drug-fueled and fetishized eschatological fantasy in Wild World, the bedroom betrayal and hot-blooded murder in 6´´ Gold Blade, Sonny's Burning, with it's all-consuming ritualistic sacrifice, the victim's phantasmal revenge in The Killed Waits for the Killer (Deep in the Woods), or the ambiguous nature of a stranger in Friend Catcher... the images and themes culled from those obscure songs were irresistible.
Beyond the Birthday Party Hits-end of Wild World, I've continued parading humanity's underbelly with classic bloody scenes like those in Bacchae and Trusty John, the lonely metamorphosis of an addict in Junk Scene, and a sadistic treat called, Pop-Psycho. I've also included new collage work to compliment and round out the horror show. Incompetent monster-dictators, violin-faced war-mongers, diseased saints, and a revolution in hell. - LHR
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Davis renders complex paintings embedded with symbols of mortality, folly, and hubris in the style of the Netherlandish Flemish Primitives such as Bosch, Bruegel and van Eyck.
His work creates an alternate world where anything is possible. Combining arcane personal symbology with social commentary, Davis' paintings depict a world of myth and colliding timeframes, a land "on the other side of the bridge," but one that resonates with our own--not as memory but as a dream.
--------------------------------------------------------------
[A note from the artist, Lee Harvey Roswell, about his new work for Wild World]
Wild World grows out of work I was originally calling, The Birthday Party Hits. These are oil paintings conceived through the interpreting of various songs by legendary Australian post-punk band, The Birthday Party. Though Nick Cave would go on to be known more for creating darkly poetic yet narrative tales in his later work, his youthful writing for The Birthday Party is like wild delirious sketches, lines like quick stabs. I set out to play off those lines as much as possible while coming up with my interpretations to the band's songs.
From the mental illness and down-and-out destitution of King Ink, the drug-fueled and fetishized eschatological fantasy in Wild World, the bedroom betrayal and hot-blooded murder in 6´´ Gold Blade, Sonny's Burning, with it's all-consuming ritualistic sacrifice, the victim's phantasmal revenge in The Killed Waits for the Killer (Deep in the Woods), or the ambiguous nature of a stranger in Friend Catcher... the images and themes culled from those obscure songs were irresistible.
Beyond the Birthday Party Hits-end of Wild World, I've continued parading humanity's underbelly with classic bloody scenes like those in Bacchae and Trusty John, the lonely metamorphosis of an addict in Junk Scene, and a sadistic treat called, Pop-Psycho. I've also included new collage work to compliment and round out the horror show. Incompetent monster-dictators, violin-faced war-mongers, diseased saints, and a revolution in hell. - LHR
show less
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111 Minna Street, San Francisco, CA 94105
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