In these works, the male erotic viewpoint is represented in a cerebral rather than a carnal fashion. Both artists build upon an age-old lexicon of archetypes representing virility, fertility and the desires and obsessions they engender.
Jared Buckheister’s ceramic urinals show the body kneeling, not in submission but in offering. They provide a receptacle for both the waste and aggression of the objectified other, as well as those who have been conquered and subjagated. These objects suggest a complex web of influences, drawing connections between subversive fetishes and political violence. They are vessels in the tradition of Pre-Columbian ceramics and adorned with signifiers of hyper-masculine, American power: A permanent state of identity crisis.
Saul Chernick's images are situated in psychological space. The body is present but only in fragments arranged in tableaux for the viewer’s contemplation. The human form is represented through suggestive allusion and frank depiction. Rendered in a high contrast, hyper-crisp black and white, they are imbued with a cool sense of remove, which transports them beyond the physical into a state of platonic idealism.