The figurative lexical field of Jordy Kerwick is undoubtedly a pretext
for painting. His predominantly vibrant compositions, with almost
nonexistent perspective, immortalize subjects that are both completely
fanciful and much more autobiographical, often within the same
painting. He also addresses classical themes in painting, including still
lifes and vanities. He adds elements of everyday life with antagonistic
connotations, such as flowers and cigarettes, juxtaposing the attractive
and mundane aspects of life.
His highly recognizable iconography is built around a set of recurring
graphic elements, almost like patterns, composed of cobras, wolf
heads, feathers, nude women, or plant elements. Predatory animals are
increasingly present in his recent works, as if to remind man of his
primitive nature. Kerwick also cites historical references such as
Théodore Géricault’s “A Lion Attacking a Horse,” 1762.
Kerwick explores the intrinsic relationships of painting between
thickness, color, and flatness. Using a variety of techniques, from
acrylic and oil painting to spray painting and collage, Kerwick’s raw
and unapologetic works are imbued with an obviousness, elevated by
the richness of textures and the depth of surfaces.
Jordy Kerwick is a self-taught artist, born in 1982 in Melbourne,
Australia. He lives and works near Albi, in the south of France. With
numerous exhibitions in Melbourne, London, New York, Tokyo, and
Paris, his work is also part of major public and private collections,
including the Museo Nacional Centro de Arte Reina Sofia in Madrid,
the collection Blanca and Borja Thyssen-Bornemisza, and the Bunker
Art Foundation in Miami.