Aboutstudio1.1 is very excited to be bringing together two young artists, both of whom held very successful solo shows in the gallery last year. Now John Summers and John Tiney unite in a joint venture, 'THE OVERLORDS OF FUTURE KARMA'.
What these two superheroes of contemporary art will produce for the show can only be guessed at - but in Summers' words: "We are Gods of the worlds we create. As we walk our streets consuming the continuous change in the atmospheres, not only in climate but this MOODY RECESSION flooding all with misery and NO JUICE. AS IF THE PLUG HAS BEEN PULLED. A big hibernation would be ideal for maybe ten years. But suddenly GREAT AND AMAZING POWERS are coming from the minds and bodies of our great GODS OF WISDOM. Let us enlighten your DOOM and massage your GULLIVER. Stop the conveyor belt of RECON. Stop the toilet from overflowing with crap shit and OLD RECORDS. THE FUTURE IS HERE. Hard edges. Revealing the truths of the work beyond our capabilities no explanation no familiarity. Discovering the real electric.
The show will hold a mixture of creative infusion, making the space act as a SCIENTIST ARTIST/ NEWSREPORTER/ EARTH ALIEN HIDE-OUT BOILER ROOM LABORATORY BOMBSHELTER BEDROOM PARTY ROOM HEAVY METAL CONCERT STAGE"
Coming from polar opposites of the Pop spectrum they each present fantasticated worlds, detonating futures and ransacking the past. Drawing in references from science fiction and science fact, covering the gamut of sign-making from advertising through graphic novels to shamanic totems, they exchange new myths for old. Where Tiney breaks up and recombines fragments of narrative into a new story that's both entirely legible and utterly mystifying, Summers grapples with his very raw materials, bringing them into being as the end of something, the corroded or burnt-out remnants of a cosmic cataclysm. Their work converges in a kind of involuntary surrealism, literally unearthly, balanced right on the edge of a new frontier.
Tiney's paintings follow the grain of their plywood ground with the sophistication of a Hiroshige while Summers' landscapes of detritus and found materials are as detailed and strangely worked as a carved Chinese jade. The natural world shifts towards the near-virtual as Tiney's elaborate myth and manga paintings contrast with Summers' sculptures in which a dying slave might have cast off a superhero's cloak.
If the bombast in the title is tongue-in-cheek, still the tongue stuck out at it is the artists' own. Both are ready for new ways of expression to break through, an unstoppable momentum