- 'Painting Hitchcock' brings Toronto-based artist John Abrams back to boltax.gallery for his second solo show. The artist's reception is Saturday, May 28 from 6 to 8 pm. The exhibition runs through June 13.
There is something intrinsically voyeuristic in both the making and watching of movies. ... Read more
- ‘Painting Hitchcock’ brings Toronto-based artist John Abrams back to boltax.gallery for his second solo show. The artist’s reception is Saturday, May 28 from 6 to 8 pm. The exhibition runs through June 13.
There is something intrinsically voyeuristic in both the making and watching of movies. Sitting in the dark. Gazing out. For the last decade painter John Abrams has looked to film as his muse, finding in it a way to examine common narratives, sexual tension and cultural norms.
His latest series of paintings focus on Alfred Hitchcock, whose iconic films have left an indelible mark on our collective psyches. Like the famous director, Abrams’ work delves into relationships and identity, challenging our perceptions about objectification and voyeurism.
Images of some of the 20th century’s most celebrated actors make each of the paintings instantly recognizable, but Abrams is not merely replicating a static screen shot. Choosing each image with an eye to composition and subtext, he gives us emotionally charged moments to consider, like the subtly homoerotic undertones of ‘Rope’ that suggests that things aren’t what they seem. In ‘Rear Window, Grace Kelly’ the artist turns his eye to the last scene where Lisa (Kelly) had been reading a book on foreign travel to please her partner. When he falls asleep, she happily picks up a fashion magazine instead. “That moment of self-satisfaction is the moment I wanted to capture”, says Abrams.
Whether working in a saturated palette of mid-century Technicolor, or noirish black and white, Abrams’ style is bold and dramatic. Liberal splatters and unfinished corners play counterpoint to the sheen of classic Hollywood glamour, adding a flicker of tension to the surface, techniques first seen in his 2004 show ‘Screen Grab’, which featured paintings inspired by Goddard’s ‘Contempt’ and ‘Breathless’.
Movies have a reach and power like no other art form, the narratives have given us a rich lexicon of images and expressions, shaping our culture and perceptions. ‘Painting Hitchcock’ adds another layer-the moment looking turns into seeing-extending the conversation by stopping the action.
