GRAPHIC T

Allen Brewer & Audrey Gair

May 24, 2019 - June 16, 2019


For Allen Brewer and Audrey Gair, painting is a form of dressing up. T-shirts are a frequent motif in both practices: Brewer’s use of
tees as material, Gair's use of tees as icon-like symbols. An apt metaphor for both their work, shirts are not only objects that
stretch to fill the body, but also an externalization of an individual’s identity. Wearing a graphic tee can be a deeply personal act
that asks strangers to pay attention to who we are, and what we care about. All the while, a t-shirt covers the skin and hides one’s
vulnerabilities. It can be understood that a t-shirt is a way of connecting and loading meaning into an otherwise empty subject.
Brewer and Gair’s work, then, redefine relationships to body and form, and their paintings demand, like a tee might, to “speak to me.”

Allen Brewer utilizes ever-evolving strategies to play with material structures in his paintings, whether through lysergic cartoon
psycho-dramas or iconoclastic material gestures. Frequently these two go hand in hand as in Time Currency. Here, Brewer’s use
of colored pencils and charcoal imagines a studio where alien-like creatures writhe and twist among blank canvases. Brewer
covers the painting in stickers and washes of gesso, making his forms bulge and glow as though they’re alive. In Time Currency
and much of the work of Brewer, subjects become submissive agents toward their own materiality. The paintings of Brewer stretch
the limits of the canvas: he often paints directly onto t-shirts and sweaters, folding against impossible bodies and covering
objects like car rearview mirrors and plush chili-peppers. In Suicide, Allen cuts out the forms of severed heads kissing or talking,
affixes them with glue to a worn down painting, and uses processes of frottage and acrylic application, all of which begin to mimic
the look of bronze or metal. Brewer’s work is driven by suspended animation: paintings into objects, objects into subjects.

Where Brewer is interested in how to enliven his surfaces and objects, Audrey Gair creates non-spaces to activate her concerns. In
a new 4-paneled painting entitled Genesis, Gair paints distinct backdrop grids, all in dim neon colors: some appear as brick, others
more reminiscent of the pulse of a nightclub. These mostly empty spaces recall both screensavers and minimalist painting, where
bubbles bump and prod in the foreground. In some panels, splats appear like lightning bugs smeared across car windows. The
paintings on paper are hinged together by orthopedic casts adorned with the names of those from Gair’s past, giving the empty
spaces a physical and personal ache. Gair frequently obfuscates her figures, like the avatar she returns to in her other paintings; a
young woman, bootcut flared jeans, turned away from the viewer, sitting on a skyscraper looking out onto a grid. For this
character, the grid becomes a city that’s at once open and closed, both a reality and an impossibility. Through these existential
narratives, Gair’s work promises a vision beyond the limitation and uniformity of grids and frames, a window into the real world.


 

Allen Brewer (1974, St. Paul, MN) is an artist living and working in Los Angeles, California. Recent group exhibitions include of,
curated by Seymour Polatin at In Lieu (Los Angeles, CA), and Walking on the Tracks at Seymour2017 (Los Angeles, CA). Recent
solo exhibitions include Comfortable hand at Gallery1993 (Los Angeles, CA). Brewer received his MFA from Cal Arts in 2016.

Audrey Gair (1992, Miami, FL) is an artist living and working in Brooklyn, NY. Angles Head, a collaborative exhibition with Sophie
Friedman-Pappas, is currently on view at European Gallery (Boston, MA). Previous two-person and group exhibitions include those
at Rope (Baltimore, MD), Open Space (Baltimore, MD), Sinkhole Project, (Baltimore, MD), and Evening Hours (New York, NY). In
2018 Gair co-curated and participated in an exhibition entitled Percolate (Anything You Want to Call It), staged at Mango’s Tropical
Cafe, a Latin Club in South Beach, FL, with the support from Bas Fisher Invitational.


Graphic T [installation view]

Allen Brewer, TIT FOR TAT, 2017-2019, acrylic, t-shirts, sweater, button-up, wood, plush chili pepper, car rearview mirror, mixed media, 30 x 27 x 8 ½ inches

Allen Brewer, TIT FOR TAT, 2017-2019

Graphic T [installation view]

Audrey Gair, Waiting to Pop, 2019, Oil on panel, 24 x 24 inches

Graphic T [installation view]

Audrey Gair, Genesis, 2019, oil on paper, acrylic on ScotchCast, 34 x 68 ½ inches

Audrey Gair, Genesis, 2019 [detail]

Audrey Gair, Genesis, 2019 [detail]

Audrey Gair, Genesis, 2019 [detail]

Audrey Gair, Genesis, 2019 [detail]

Graphic T [installation view]

Allen Brewer, TIME CURRENCY, 2016-2019, gesso, charcoal, colored pencil and stickers on t-shirts, 27 x 22 inches

Allen Brewer, TIME CURRENCY, 2016-2019

Allen Brewer, TIME CURRENCY, 2016-2019 [detail]

Graphic T [installation view]

Audrey Gair, Parent Painting 2, 2019, oil and rhinestone chain on panel, 30 x 24 inches

Audrey Gair, Parent Painting 2, 2019 [detail]

Graphic T [installation view]

Allen Brewer, SUICIDE, 2019, acrylic and glue on canvas, 48 x 32 inches

Graphic T [installation view]