Gary Simmons – This Must be the Place

Last few days to catch Gary Simmons @HauserWirth London. A “visual DJ” his work is focused on erasure and racist stereotypes, ‘When you attempt to erase something, there’s always a trace left behind.

In his new work, artist Gary Simmons employs his signature erasure technique as a powerful metaphor. Known for his figurative paintings, Simmons creates white outlines of characters, scenes, and words on chalkboard-like surfaces, then blurs and smears them by hand. These images, often from 20th-century cartoons and vintage film title cards, carry deep cultural significance. Simmons captures the histories of erasure experienced by Black communities, showing how history is constantly altered yet still shapes the present. He states, “When you attempt to erase something, there’s always a trace left behind.”

Gary Simmons explores erasure in African American history and culture, using popular culture—sport, music, film, cartoons—to reveal the construction of the USA’s national character. His new work continues this theme with a focus on the history and materiality of painting and sculpture. In these multi-layered paintings, the star motif emerges. Stars, universal symbols, suggest hope, dreams, and loss. Simmons smears the paint while it’s wet, making the motifs simultaneously appear and disappear.

In “Smalltown Boy” (2023), Simmons combines the star motif with the racialized cartoon character Bosko, referencing the prejudices of such cartoons. His new series shows influences from Albert Oehlen and Martin Kippenberger, using up to fifteen layers of paint. In “Ghost Town Skies” (2023), yellow glints through monochrome layers. “How Soon Is Now” (2023) reveals flashes of pink, evoking layered histories beneath the canvas.

For the first time, Simmons uses bronze on a large scale. His sculptures, citing racist tropes from historical cartoons, dialogue with his paintings. Two crow sculptures, reminiscent of Disney’s “Dumbo” (1941), stand apart, highlighting themes of disappearance and erasure. Despite using permanent bronze, Simmons leaves the forms unrefined, emphasizing the power of erasure.

Music and performance also inform Simmons’ practice. Titles like “How Soon is Now” (1984) by The Smiths and “Smalltown Boy” (1984) by Bronski Beat reflect themes of curiosity, longing, and displacement. Simmons describes his process as “visual DJing,” sampling visual imagery from different sources to evoke recognition and reflection in viewers.

See Gary Simmons’ art at Hauser & Wirth London. Hauser and Wirth London exhibitions showcase his innovative work.