12/20/2017
ABSURD SPACES
Sally Webster at 33 Orchard, NYC
BY: ZACH WAMPLER
https://www.provokr.com/art/absurd-spaces/
What happens when a former punk rocker takes on s*x, drugs, astrology, myth, and the history of art in the form of paintings? Well, to get an idea of what the results may look like, I recommend looking at Sally Webster’s latest show Daydream Believer. Organized by 33 Orchard, it is an exhibition of eight brightly-colored, surreal, s*xual, and very funny paintings which have layers of references that delight and disturb.
Webster began with an education at the San Francisco Art Institute in the 1970s, but diverted her attention to music. Deeply involved in alternative movements on the west coast, especially its punk and new wave scenes, Webster was a founding member of the legendary punk band The Mutants. One highlight (at least for this writer) was that the band performed with The Cramps at Napa State Hospital in 1978, a psychiatric hospital north of San Francisco. With all that in mind, Webster’s past certainly informs her current work in painting.
Webster’s work certainly has the raucous energy and color that feels like a visual equivalent to punk music. Formally, some of the works like Red or Fright Wig are directly descended from the early 1980s, too (think Philip Taaffe or Kenny Scharf). However, where Webster really excels is in her deployment of narrative and historical juxtapositions.
The best examples are works like Sailor, which spoofs the heroic themes of Moby Dick into a comically ej*******ng phallus. The title suggests a slew of traditionally masculine images and storylines, but we are left with nothing more than a plume of water from an abstracted whale (or something more erotic). This double image had me asking plenty of questions. Was the sailor consumed by the whale, thus rendering his bravado into a pathetic circus? Is it just the climax of a lonely sailor? Whatever the answer, I will say it’s the first time I have laughed while trying to figure out the psychos*xual meanings of a painting.
Willin’ is another highlight. Its composition resembles ancient calendars, mandalas, and other ancient and spiritual imagery. However, the symbols here are repurposed astrological s*x positions revolving around two naked women which 33 Orchard’s press release for the exhibition calls “silhouettes found on the flaps covering truck wheels.” There is something oddly satisfying in these works, which I think comes from seeing an artist who is serious about not taking her work too seriously. With paintings like Sailor and Willin’, Webster is invoking myth and spirituality while also poking a hole in her own cosmology.
Although I mentioned a connection to the painters of the 1980s, Webster seems more aligned with Surrealism when you consider her absurd streak. Her gallery press release even identifies her work as just that: “meditative and surrealistic.” There really is no point in analyzing concepts or decoding heady theory with this work. It feels like a rejection of all that. These paintings pack their punch in dreams, history, farcical humor, s*x, and irreverence.
It’s a wild ride for our wild times. I suggest you buckle up and visit Sally Webster’s strange world while you have a chance.
Sally Webster at 33 Orchard, NYC