Throughout the work of New York-based artist Andrew Bell, commonly known as the “creatures in his head,” characters such as the Giver of War and the Giver of Disease make frequent appearances and are fan-favorites among his cult following. The dark narratives created through his ink drawings, paintings and even his own line of toys contribute to a pop art movement moving through urban environments that is worlds away from the Andy Warhols of the 60s movement. Instead of bright colors, everything is dark; the art’s not about fame and fashion, but instead the tribulations of the world. In Bell’s latest contribution, he has learned to accept the end and provokes others to do the same.
Bell’s newest exhibition at Rotofugi Gallery, 2780 N. Lincoln Ave., used his drawings, sculptures and installations to portray “giving up, giving in and letting go” in the show “Love the End.” The work appears deceptively simple, but aesthetically appealing while getting to the heart of Bell’s view on the world’s problems.
At first glance, the work of Bell looks more akin to doodles in the margin of a notebook than work worthy of its own gallery show. The simple shapes and minimal color palate of black, white, grey and red make the work appear simple. But closer inspection reveals a deeper story through the series of paintings. The main character appears as a teardrop shaped skull, assimilating itself into various end of the world situations. Appearing amidst an oil rig explosion, at the heart of a volcano and in the hazy aftermath of an atomic bomb, the face is downtrodden, but calm.
The feeling of acceptance that crosses the work brings a new life to the plain paintings. Instead of being just doodles, the paintings have a history, an emotional back story that brought the final product out. Wear and tear in the faces of the skull show the battle these characters have endured to this point until deciding to, as Bell repeats throughout the exhibit, “love the end.”
This art falls comfortably into the realm of comic book and graphic novel work, in both its color scheme and narrative. The post-apocalyptic landscape portrayed in the paintings serves well to the exhibit’s purpose, easing the viewer into a thought-piece exploring how one may be affected by the end of the world. Lingering on each piece long enough may leave one depressed at first, but Bell’s secret nod to the positive—miniature hearts hidden as noses on the creatures, the half-heart appearances of the creatures themselves—leave a sense of whimsy amid the dark theme.
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