In the inaugural exhibition of Loo, Slow’s gallery within a bathroom, Paul Hopkin has his walls turned on his own work. Recently asked by a stranger to rent out Slow’s exhibition space in Pilsen, Hopkin was inspired to calculate how much of his building (in which he also lives) was dedicated to art space. Hopkin’s calculations led to a measurement of cost per square foot, and the silent partner of Slow, Jeffrey Grauel, immediately asked to lease the bathroom for one year—the decided lease at $19.42 a month. Because this is not technically Hopkin’s space, Grauel invited him to display his work for the first exhibition, highlighting the irony of Loo being a competitive gallery held within Slow’s walls, a space where the partners’ roles have been reversed.
Paul Hopkin. “Grilled Romaine Salad,” 2014, and “Spring Salad with Roasted and Shaved Asparagus and Radishes Two Ways,” 2014
For “Special Gentlemen’s Time with Paul Hopkin,” delicate salad paintings line the bathroom walls attached to handmade displays, a delicacy that highlights the temporality of the exhibition’s nature. The paintings are just as light as their subject matter, minimal brush strokes that are engaging to the eye, even if they fail to be to the stomach. The show also consists of several small ceramic glasses, many of which match the cool blue, gray and green tones found in the paintings. Each cup is formed with the intention of holding makgeolli, a Korean rice wine that Hopkin brewed and served within the cups at the opening. A few sculptural objects are also embedded in the bathroom and exhibition, a crouton tucked in a matchbox by the door (“Muse,” 2014), and a sparse salad propped on the back of the toilet on a pale pink plate (“Remove Before Entering,” 2014). Each piece is crafted from actual food, thus adding a jab at the complicated line between art and food.
Humor is inescapable within the tiny gallery and show, executed most accurately through the strategic placement of a scale that both forces attendees to step back from the work, and acknowledge the reality of their environment. The ritualistic subject matter fits perfectly within the context of a bathroom, the two obviously linked processes of consumption and elimination forged effortlessly. (Kate Sierzputowski)
Through July 26 at Loo, 2153 West 21st.
Related Stories
For Us: A Review of "Something from Something" at Engage Projects Kushala Vora and Adia Sykes’ collaboration "Something from Something" tells us as viewers that knowledge, art, creation, inspiration, love—really anything you can think of—has a place of origin.
Looking Down: A Review of Bob Tanner at Perspective After the loss of his wife, Bob Tanner made two photography series, “At Ocean’s Edge” and “At Winter’s Edge,” that are shown in this meditative show filled with graceful visual poetry.
Microcosm: A Review of “Dialogues” at Patron Through each artist-relationship, "Dialogues" offers the viewer a rare opportunity to witness the direct connections that flow through the electric nervous system that both infiltrates and generates Chicago's art world.
Women Behind the Lens: A Review of "From Her to Eternity" Courtney Love curates on the street. Just west of Wabash on the corner of Eighth Street, there is a wall of stellar rock star images that includes a special collection made by women photographers over the years.
