Jamie Hewlett (Gorillaz) stellt grade neue Zeichnungen in der Woodward Gallery aus, ein Dreiteiler aus Tarot-Karten, Zeichnungen von Kiefern und drei „Honey Lightboxes“. Die Karten machen mich so gar nicht an, aber ich liebe seine Baumzeichnungen und die pulpy Lightboxes.
The viewer is then enveloped in thrilling darkness for HONEY, as Hewlett reveals his frisky homage to the exploitation movies of the 60s and 70s. With a taste of the series of giant lightboxes providing the only source of illumination, akin to the deliciously sleazy ambiance of an adult cinema lobby, Hewlett completing the atmospheric hat trick by creating fake vintage movie posters which use gloriously trashy directors such as Russ Meyer and Terry Southern as an irreverent jumping off point before careering recklessly in his own direction. Revolving around the fictional character of “Honey”, Hewlett draws deeply from the lexicon of B-movie language to create posters which are audacious, saucy and, at the same time, deeply authentic – right down to the affectionately rude credits.
From the nocturnal to diurnal then, as Hewlett brings the viewer blinking into the daylight with PINES, the final, most lyrical part of this exciting new series. Featuring extraordinarily detailed illustrations of trees Hewlett observed while in the south of France, these large-scale drawings may look simple, but are in actuality astonishingly meticulous – almost photo realist – in execution and highly evocative, conjuring a heady, magical, bucolic landscape with all the wide-eyed innocence of a fairytale. It is a fitting finale to a show in which hetereogeneous images of the conscious and unconscious, everyday and fantastical, all occupy the same space, emphasizing how strictures can be undermined or heightened simply by the power of suggestion.