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Somewhere in a North American suburb, there is an adolescent escaping into the territory of his dreams. This is a boy of delicate masculinity. He has a soft body and an adolescent slouch. His expression is impassive, almost unreadable. Russell Banx has elaborated iterations of this character throughout the last several years, variations of which he introduces to Gaze and Gesture, a recent series of drawings that depict youth in languid postures of vulnerable yet vacant repose.
What the figures inhabit physically is all surface. Banx is interested in outward form—contour, pattern, shadows, gesture—adopting a realist visual style inspired by German New Objectivity that emphasizes substance and environment. Through this he renders the tedium of suburbia: neat houses in identical rows, dull and quiet settings, domestic inactivity. Yet these physical spaces are also invested with a kind of charge. Banx is not only interested in objective precision and a sober reality—an...More
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Somewhere in a North American suburb, there is an adolescent escaping into the territory of his dreams. This is a boy of delicate masculinity. He has a soft body and an adolescent slouch. His expression is impassive, almost unreadable. Russell Banx has elaborated iterations of this character throughout the last several years, variations of which he introduces to Gaze and Gesture, a recent series of drawings that depict youth in languid postures of vulnerable yet vacant repose.
What the figures inhabit physically is all surface. Banx is interested in outward form—contour, pattern, shadows, gesture—adopting a realist visual style inspired by German New Objectivity that emphasizes substance and environment. Through this he renders the tedium of suburbia: neat houses in identical rows, dull and quiet settings, domestic inactivity. Yet these physical spaces are also invested with a kind of charge. Banx is not only interested in objective precision and a sober reality—an...More
