Andy Hope 1930
MONSTER, 2016 | Courtesy Galerie Guido W. Baudach, Photo: Roman März
In his exhibition Black Fat Fury Road at Galerie Guido W. Baudach, Andy Hope 1930 tests the registers of iconic and emblematic signs, mobilising their possibilities, limits, perceptual models and incompatibilities. By appropriating a “monster” icon, for instance, the certainties of language and the conventions of painting are rendered downright unstable. Hope also brings simple markings to virtually monochrome black enamel paintings, mingling the impression of hermetic elegance with the discomfiture of a defunct industrial product, combining automotive paint with canvas, careful priming with manufacturing defects. These new works continue to operate in the language of the circulating negative that Hope first presented with his UNappropriated Activities in 2015. What he evoked with the syllable “UN” back then is now actuated with elements of drawing that are no less complex: two conical red forms at the “head” of the plane, identified as devil’s horns or eyes by the field of emotional communication, create a narrative and associative space that actively foments the certainties of the concept of the work of art, contaminating it with toxic values: pure abstraction or dirt, sublime modernity or phantom dross.