With a fantastic imagination à la Bosch Lyon gets his nourishment from popular culture, news flow, contemporary society, international politics and doomsday prophecies.
Noah Lyon ”Look at All Your Stuff”
Galleri Thomas Wallner, Malmö, Sweden
through May 27
Noah Lyon’s drawings are like graffiti-covered walls. Bright colors call you in to take a closer look; in the multitudes I’m drawn to “All Your Stuff”. A man, or is it a bird, in a wheelchair is chewing, like Moloch, on a naked figure, who is expelling gas in anticipation of death, while another guy without a head slinking away with a turd on his shoulders. Some poor wretch is flushed down the toilet, and a miserable bastard, trapped in an orange bag, is vomiting from his torture. The colors of U.S.A. are shining through like a dirty rainbow. The doomsday horn is blowing.
Figure is added to figure, scene added to scene, one image next to another, in a color scale that would do credit to any Concretist. With a fantastic imagination à la Bosch Lyon gets his nourishment from popular culture, news flow, contemporary society, international politics and doomsday prophecies. Full to the brim. It is important to say everything, all at once. Then he can leave the words and thoughts to the beholder. Implicitly he is offering his world, what does yours look like? ”Look at All Your Stuff” is the name of the exhibition!
The pressure in Lyon’s imagery is kept high by the small format. Sometimes down to mini size. Then they are small picture buttons that are also put together into “button paintings”. The effect is stroboscopic; quick punch lines about his world.
Alongside the image fury Lyon shows more conventional paintings. Loaded with air, light and dreams of a sort of American mythology. The painting “Pyramid Me” is just a small picture of a man in a cowboy hat in front of a wall that has been sewn together; the seam resembles a pole with a small owl. Within, I hear Hank Williams’ tragic dreams and painfully beautiful music!
Lyon’s images collide in a way that would have put André Breton in ecstasy.
- Thomas Millroth, art critic – Sydsvenskan April 30, 2009