Andrew Brischler’s productive one-man show Storms at Gavlak might as well be called The Greatest Album Covers That Never Were. Highly graphic, commercial-ready appearances of the artist’s large paintings and small drawings simultaneously ooze with freshness and feel blasé. The totality of the visual choreography strikes as a collaboration between a teenage fanboy deliriously copying jacket artworks, and a banker turned graphic designer amidst his midlife crisis; except here, there is no Dave Grohl, no red Alfa Romeo.
Compositionally, Brischler’s big and modest works are simple and straightforward. Primarily drawn with determination in colored pencil and graphite, geometric formations of concentric lines and hypnotic spirals converge toward the center, while abstracted motifs of forceful splatters radiate outward. Gross fluids and solid color fields swim in the space. When stylized words are employed, and there are many, they mount atop the surface, front and center. The confrontation is immediate and wastes no time. Though Brsichler is from New York, in the context of being exhibited in Hollywood, Ed Ruscha comes to mind.
Beauty and the pull of Brischler, however, are found not in the artist’s graphic sensibility, which conjures up the pop and rock cultural affinity of the recent decades past. Instead, what amplifies the sensuality is the seductive allure of imperfections. Littered like glitters but with a meticulous intention, the calculated marks, nixes, scratches, and peels capture the attention at once and won’t let go — like a super sticky fly trap. Upon learning this clever, premeditated device hidden in the plain view, Cy Twombly is not an unfair comparison.
In the laborious hands of Brischler, the dirty looks so sexy.
Andrew Brischler’s Storms is on view at Gavlak through July 11, 2015. It’s a ROCK-N-ROLLING.
All images by author for editorial purposes only.