No Longer Endangered, but Vulnerable
MASSIMODECARLO is delighted to present No longer endangered, but vulnerable, Rob Pruitt’s second presentation in Hong Kong and eighth personal exhibition with the gallery since 2012.
Pruitt’s vocabulary is straightforward, minimalist, and above all, highly relatable. Drawing on everyday iconography with sardonic irony, he confronts the viewer with the paradox of modern-day existence: one where the line between hope and dystopia is harder and harder to grasp.
Despite the glitter, the tone of the exhibition is far from lighthearted: indeed, the status of the panda, which was recently declared “no longer endangered, but vulnerable”, echoes like a cautionary tale reminding us that the panda – and everything that it represents - is far from safe from further threats.
The Panda is a highly symbolic animal: not only was it adopted by China as its national animal, but this giant, fluffy bear acquired particularly iconic status in international diplomacy in the 1940’s, in what became known as “Panda Diplomacy” - China gifting giant pandas to other countries in highly symbolic gestures of concord, goodwill and friendship.
The Panda paintings celebrate this world of contradictions: on the one hand the bright, colorful glittery portraits of these animals in their natural habitat, depicted in glitter to enhance their innocence and endearing expressions; on the other, they are a stark reminder of the tensions and dangers that we are grappling with both with increasing environmental catastrophes, as well as the precarity of our current geopolitical order. Vulnerability after danger should not be mistaken for safety.
Artist
罗布·普鲁伊特1964年生于华盛顿,曾就读于华盛顿的科科伦艺术与设计学院和纽约帕森斯设计学院,目前生活工作在纽约。
自二十世纪九十年代初起,罗布·普鲁伊特就对美国流行文化采取了多种独特的探索形式。无论是著名的《COCAINE BUFFET》(1998年),还是闪光的肖像《熊猫》系列,或是《自杀绘画》系列,普鲁伊特的作品是对流行世界的一种超现实奢华诠释,也是一个多方面探索当今时代文化的万花筒。
罗布·普鲁伊特通过对常见物品及材料的重新诠释,赋予其幽默和讽刺感,表达了对文化与社会相关想法的细微变化。“面具”系列中,艺术家不断描绘个性与情感的复杂性。面部形态割破了画布,将破坏性与创造力并存,并融合色彩渐变和图案堆积,创造出新的形象。