21 June – 17 August 2019 @Lazinc Sackville
Lazin Gallery presents a retrospective of the artist, designer and co-founder of the Gorilaz group Jamie Hewlett, The Suggestionists – by all menas a seductive headline.
The show is intriguing and crosses three different themes – the esoteric, the terrestrial, and the human world – that intertwine and eventually converge through suggestive implications, delineating the basics of contemporary society. The space is divided and titled in 3 parts: Tarots, Pines and Honey.
Tarot is a tribute to the cabalistic world – the artist mentioned in his interviews to be influenced by the book ‘The Way Of Tarot’, by the French / Chilean filmmaker Alejandro Jodorowsky, donated by his wife, the actress Emma De Caunes. The publication (an insight of the director into the Tarot as a spiritual path) inspired Lewitt to create 22 tarot cards in giant format, accurately replicated, over a period of three years. Painted with watercolors, gouache and Indian ink, they depict a fantastic and surreal world made of dream-like scenes and characters, dragging the viewer into a world which seems more like chimeric vision.
Pines, the second room, tries to illustrate the natural world through expressive paintings, embracing suggestive atmospheres. Trees invade the canvases almost entirely up to the frame – their intricate details play with light and darkness in an almost photorealistic effect, blending spontaneously with the cabal world and naturally connecting with the third section, Honey.
The latter room is where Hewlett ponders about sexual exploitation in the 1960s and 1970s, particularly with regard to pornographic genre cinema. The series featured in the Honey room revolves around a fictional character – a woman (prostitute?) called Honey. The space is small and reproduces the effect of a movie theater for adults or a club, with light boxes and an intense – almost bitter and intoxiating – red lighted dark room.
Everything is thoroughly reassembled to the minimum detail, following the obsessive style in the finishing touches as per Hewlett’s quintessential; every detail recalls the language of the B-series cinema, with a bunch of posters on the wall that are provocative and authentic and a disturbing sense of incommodity.