Kris Pierce: Applause at Keijsers Koning, February 17–March 23, 2024
Kris Pierce, “Cosmic Rerun”, 2024, acrylic on MDF, print on acrylic, walnut, tolex, grill cloth, clear casters, speakers, Baltic birch, arcade buttons, amplifier, custom cabling, custom power cable, black light, HD video on commercial display, 54 x 18 x 32 inches
Kris Pierce, “Yay!,” 2024, acrylic, enamel, custom power cable and neon on birch panel, 42 inches Tondo
The more things change, the more they stay the same. The mid-century, “Mad Men” style cartoon figures within Kris Pierce’s newest paintings echo his exhibition, Party Line, at the Galveston Arts Center in 2022-2023. In this show, phrases of self-confirmation are drawn from real world examples, such as a scented sticker pack which dates roughly to the 1980s, as Pierce continues to explore the notion that American culture is often mining itself for meaning. The artist reflects on the evolution of individualism and power in society, from the counterculture of the 1960s to today, using a mix of video, audio, and sculpture. One sculpture, Cosmic Rerun, is an affirmation machine resembling an arcade console that critiques the perpetuation of individualism and hierarchy in contemporary culture, while also exploring the connection between technology and the past.
Pierce’s exploration of American individualism resonates deeply within the conceptual framework of his paintings and sculptures. By delving into the complexities of the generational perpetuation of individualistic ideals, they invite viewers to contemplate the exhaustion of contemporary society. There are considerations of mechanical function through meticulous fabrication, as in the case of buttons attached to Cosmic Rerun. Though they are currently without any function, they are wired so that they may be programmed in the future. Pierce continues to provoke meditation on the nature of individualism and its impact on modern life.
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Julie Bozzi: Eye Candy at Talley Dunn Gallery, February 17–April 6, 2024
Julie Bozzi, “Sheep with Miniature Holy Thursday Breads,” 2005-2006, oil on panel, 16 x 18 inches
Installation view of “Julie Bozzi: Eye Candy” at Talley Dunn Gallery
Julie Bozzi’s latest exhibition offers a delightful exploration of regional confectionery foods through impeccably rendered paintings and hand-painted accordion fold books. Reminiscent of visual dictionaries and encyclopedias, Bozzi’s work invites viewers on a delectable journey through sweet treats from around the world. The inclusion of panoramic landscapes explores a less saccharine palette, with muted greens and pink sunset hues creating a warm and inviting atmosphere. Bozzi’s dedication to style and format shines through in tightly clustered pages that capture the essence of her subject matter. Additionally, this show features Bozzi’s travels, including her 2006 series inspired by Mexican pastries. Tin-plated frames sourced from Oaxaca add authenticity to the pieces, while books of seasonal cookies and Japanese candies offer charming vignettes. Bozzi’s ability to draw from life, even during the pandemic era, reflects her commitment to capturing the beauty of everyday pleasures.
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Tiara Unique Francois: Learning to be T.U.F. at the Oak Cliff Cultural Center, February 24–March 29, 2024
Tiara Unique Francois, “tiara is unique,” 2024, acrylic, paper clay, pipe cleaner, rhinestone, cowrie shell, spray paint on wood, 28 x 24 inches
Tiara Unique Francois, “untitled (praying),” 2023, acrylic, paper clay, hair beads, hot glue, spray paint, pipe cleaners on canvas
This exhibition of emerging Dallas-based artist Tiara Unique Francois is rife with both loose and structurally rendered drawing and painting. I spoke with the exhibition’s curator, Ciara Elle Bryant, who assured me that virtually every work in the show is essentially a self-portrait, including the pieces in which notes pulled from the artist’s journal are prominent alongside the figuration or her own visage. Paint, ink, and charcoal are all applied with some variation of technique, such that I didn’t notice Francois is often the central figure in each piece. Instead, the artist’s adventurous use of line reveals skill and talent in the art of portraiture. During the opening reception, I asked Bryant to give her general impression of curating the exhibition:
“A lot of artists now are like, ‘I have to do this thing. I have to get it right.’ But she’s just playing sometimes. And it looks and feels good.”
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Jeff Gibbons: Beard Chewer at Conduit Gallery, February 24–April 6, 2024
Jeff Gibbons, “Untitled #2, 2023,” oil paint, acrylic paint, oil pastel, house paint, and oil pastel on stretched canvas. 60 x 72 inches
Jeff Gibbons, “Where’s Jeffrey?,” 2024, acrylic on canvas, 75 x 240 inches
Jeff Gibbons’ current exhibition with Conduit Gallery is the artist’s first in Dallas after relocating to Provincetown, Massachusetts, where he is a part of the 2023-2024 cohort at the Fine Arts Work Center. Gibbons progresses to painting, as compared to his previous exhibition with the gallery, which showcased dramatic and elegant sculptures; this time, there is more conceptual self-portraiture on view.
The largest painting explores interconnectedness through a mesmerizing landscape teeming with miniature portraits of the artist’s friends, who are adorned in whimsical costumes. Gibbons embarked on a creative journey to fill the expansive canvas, drawing inspiration from the unique landscape of Provincetown. The piece unfolds as a twisting landscape, reminiscent of a Mobius strip, where the sea and sky merge into a single entity, blurring the boundaries between land and space, reality and imagination. This surreal setting serves as the backdrop for the artist’s friends, whose identities are transformed, inviting viewers to contemplate the complexities of human connection. The title of the piece, Where’s Jeffrey, highlights the absence of the artist in the painting and emphasizes the importance of the individuals in shaping his identity. Through the use of recognizable pop culture references and timeless symbols, such as Batman and McDonald’s, the painting transcends individual relationships and resonates with universal themes of nostalgia and collective memory. Ultimately, the artwork serves as a poignant reflection on the interplay between personal identity, social constructs, and the enduring influence of shared experiences across time.
William Sarradet is the Assistant Editor for Glasstire.
