“I’m not alone in needing to feel better about myself. One of the easiest things to do has been to focus on my appearance, to create a glistening shell that other people are envious of. Look cool but hollow. So I consume, cause you can’t buy a new personality, but you can get those really exclusive sneakers and have people stop you on the street about “where’d ya cope those?” Yes, on one level it’s a personal choice, but its also cultural, institutional. You may not live in the best neighborhood, but you’ve got that new smartphone, that flat screen, those kicks. You are “so fresh and so clean, clean!” In the days and weeks after the towers fell we were not told to be introspective, but to shop. Consumerism pushes this world view, it reduces us to stereotypes. We need to look good, look powerful, look interesting, and it can all be bought! This constant need to buy, buy more, the pressures are so great, so intense that the act of shopping, it’s a release. The gods of love themselves are summoned, bloated by malaise, to bear witness to your purchase and its resulting euphoria. Sweet and satisfying… short, temporary, the pressures can’t wait to start building, again, the urges will need some new item to powder over some flaw. The process becomes erotic, an addictive cycle where you distract yourself coveting the latest thing, letting the desires build, looking forward to that moment you can buy, you can release.”
- Chad E Marshall
Chad Marshall’s works on paper act as contemporary fables, not only because of their ties to religion and morality, but also as a result of how the work disguises the venting and social critique of the content by being entertaining and provocative. With a nod to the Br’er Rabbit stories, which the artist grew up with, the humor, sex, and general absurdity of the images is played up to counter the in your face aggression of the work’s meaning. Many of the characters in the work draw inspiration from ‘characters’ in Harlem, where the artist has lived since graduating from NYU in 2003. The look of the work, the eyeless facades, the preening grotesqueries, the background as void, work as an allegory to life experience, and are an overall statement on appropriation.
Exhibitions : 2006 Morning in America, Priska C. Juschka Fine Art, New York, NY. 2005 – New Art, New York: Reflections on the Human Condition, Trierenberg Holding AG, Traun, Austria. Kiss Me Long and Hard (group show), Priska C. Juschka Fine Art, New York, NY. 2004 -‘A Conversation,’ Marvelli Gallery, New York, Group. – Pool Art Addict, New York. Group. – 2003 – ‘Just Paint,’ Barney Bldg Commons, New York. Group. – 2001 – ‘Looks Good on Paper,’ Spruill Art Gallery, Atlanta. Group. – ‘18th Annual Print and Drawing Exhibition,’ Bradley University, Peoria. Juror: Mark Pascale, Associate Curator of Prints and Drawings Art Institute of Chicago. – 2000 – ‘2000 Delta National Print Exhibition,’ Arkansas State University, Jonesboro. Juror: Mark Pascale. – ‘Tao as Art’ Private residence, Washington, D.C. Group.. – Members Juried Exhibition #4, Art Station, Stone Mt. Juror: Anthony Hirschel Director Michael C. Carlos Museum Emory University. – - – Reviews – ‘Having an Art-to-art Talk,‘Fox, Catherine. Atlanta Journal and Constitution, 6 July 2001. – - – Awards – First prize Members Juried Exhibition, Art Station. 2000. – - – Education – MA, Studio Art with a focus in painting, New York University, 15 May 2003. – BA, Studio Art with a focus in printmaking, Morehouse College, 16 May 1999. – Visiting, Art, University of Maryland College Park, 1998.