Hugo Crosthwaite : Tattoo Boy : 9" x 12" (L) and Jack Kirby (R)
On Sunday, March 14, 2010 Hugo delivered an inspirational talk, discussing his new work while offering glimpses into his creative process. SDMA shared their boardroom, filled to capacity, as Amy Galpin, (Project Curator for American Art), proudly introduced Hugo and shared, “Hugo brought a great energy to the museum…” The audience experienced inspirational energy, as the artist presented the transformation of his painting over two short weeks up and to its final completion earlier in the day.
The Wranglers and Balloon Pull Deconstructed : 2009 :
Graphite and Charcoal on Panel : 12" x 9"
Hugo’s process for creating “La Cola de dos Ciudades” was the result of constructing a mural piece directly onto the wall’s surface in a pop-up gallery space in a Brooklyn warehouse in 2009. The experience was freeing, as Hugo began composing pieces for the overall composition, he moved across the space and then back, searching for visual narrative as charcoal, ink and graphite were applied to the wall’s surface. The piece was completed and Hugo was proud to present this new found work. Shortly after the exhibition had closed the vacant space was turned over to a new tenant. Hugo’s work was immediately painted over by contractors leaving Hugo with a sense of loss.
Hugo’s heart-felt experience prompted a new wall work in 2009 at the Pierogi 2000 gallery in New York. He decided to construct and then deconstruct a new wall painting, “Hair of my Cheney Chin Chin” (144” x 366”). Again, Hugo moved throughout the gallery space, rendering irreverent characters often found in a Tijuana Bible* comic book. And as Hugo’s exhibit “Escape Rates : Escaparates” came to a close the mural had to be painted over, but this time Hugo wanted to do it.
This process became a great new discovery, as Hugo deconstructed the mural by adding a grid of white squares over the mural. During this five-day process he meticulously and mechanically masked off squares—painting them in with white paint. Hugo isolated key details of his composition and invited the viewer to imagine their own perspective to occupy the empty spaces painted upon the wall.
deconstruction with grid of white squares until completely painted over
Moving on to San Diego, Hugo was ready to create a live painting in front of SDMA patrons with the same technique. To prepare, Hugo read “Tales of Two Cities” by Charles Dickens and referenced Goya’s “Black Painting Duel with Cudgels,” Frieda Kahlo’s “The Two Friedas” and celebrated the signature line work of Jack Kirby.
Goya presents two men, possibly brothers, with embedded legs anchored into the ground beneath them. Possibly a fight to the death. It is believed that Goya intended this painting as an allegory of civil war between the Spanish monarchists and liberals. The Black Paintings were painted directly on the walls of Goya’s country house outside of Madrid at the age of 74.
Frida Kahlo (July 6, 1907—July 13, 1954) featuring “The Two Fridas” (1939-1940)
Photo by Nickolas Muray
After returning home from Paris in 1939 and divorcing Rivera, Frida painted a literal split
between her two selves during her low period of turmoil and self-doubt.
On the right is the Mexican Frida in traditional tehuana dress and on the left
is European Frida in a colonial white dress.
French artist, illustrator and sculptor. Doré worked primarily with wood and steel engraving.
Untitled, Atlanta : 2005-06 : Graphite : Charcoal on Paper : 156” x 126” (L)
Untitled, New York #1 : 2007 : Graphite and Charcoal on Paper : 84” x 96” (R)
You can see Hugo Crosthwaite’s work in the upcoming “Survey Select” exhibition to be held in San Diego, July 15 through August 28, 2010. Hugo will be one of 60 fine artists featured in a curated exhibition by Mark Murphy. Special thanks to Pierette Van Cleve for making this possible.
* Tijuana Bibles (or Eight Pagers) were illegally distributed comic-book pamphlets during the 1900s. These comic strips were filled with pornographic images of modern day funny paper characters reproduced in black and white. “Tijuana” represented the notion of iniquity while “bible” promoted blasphemous notions. If you seek these out do not be offended as they are racist, sexist and politically incorrect.
La Cola de dos Ciudades rendering applied to first edition copy of
presented to SDMA by Hugo Crosthwaite on Sunday, March 14, 2010 : (C)