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Will Stovall’s first exhibition in Germany is inspired by one of the Ur-texts of modernity: Luis Vélez de Guevara’s seventeenth-century fiction of a flight over Madrid during which a devil lifts the roofs of houses to expose the private lives of the capital’s residents. Guevara wrote his novel at the same time that Diego Velázquez was painting Las Meninas, and it shares with that other great Spanish work of the age of the Scientific Revolution an interest in the seduction of seeing, the limits of what can be seen, and the devices by which we enhance our field of vision. For centuries to come, the motif of the flying devil lifting the roofs had a profound, if increasingly latent, impact on European and American narratives of social observation.
Stovall’s paintings, executed in acrylic and watercolor on canvas, return to Guevara’s fiction as a way to confront our own continuing fascination with—and anxieties over—surveillance and total visibility. In contrast to Guevara’s silence on the…
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Press Release
Will Stovall’s first exhibition in Germany is inspired by one of the Ur-texts of modernity: Luis Vélez de Guevara’s seventeenth-century fiction of a flight over Madrid during which a devil lifts the roofs of houses to expose the private lives of the capital’s residents. Guevara wrote his novel at the same time that Diego Velázquez was painting Las Meninas, and it shares with that other great Spanish work of the age of the Scientific Revolution an interest in the seduction of seeing, the limits of what can be seen, and the devices by which we enhance our field of vision. For centuries to come, the motif of the flying devil lifting the roofs had a profound, if increasingly latent, impact on European and American narratives of social observation.
Stovall’s paintings, executed in acrylic and watercolor on canvas, return to Guevara’s fiction as a way to confront our own continuing fascination with—and anxieties over—surveillance and total visibility. In contrast to Guevara’s silence on the…
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