Submission
Ryan Hawk

distorts of trespass


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Installation View
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Installation View
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D.E.I. (or Don’t Come, 6/7/2021), 2021; Tattoo on silicone rubber, custom display case; 40 x 24 x 20 inches
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Installation View
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Portrait of A.R. (Mascot for the Creation of the Modern World, or, a troublesome irony over my concerns of theft considering the history of settler colonialism, or, The Middle Passage: Slave Ships & Shark Migration Patterns), 2021; Tattoo on silicone rubber, synthetic hair, piercing rings, vintage colonial era frame; 15 ½ x 13 ½ inches
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Detail of "diss-mechanism #1 (or double-ended toe-snake)), 2021; Silicone rubber, synthetic hair, epoxy, wax; 40 x 37 x 43 inches
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Untitled (power), 2014; Erased graphite on paper; 16 x 20 inches
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Untitled (salty life), 2020; Tattoo on silicone rubber, synthetic hair; 20 x 15 inches
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sus, 2021; Tattoo on silicone rubber, synthetic hair; 5 x 5 inches
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Untitled (hairy sponge), 2021; Silicone rubber, synthetic hair; 2 ½ x 7 ½ x 4 inches
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Untitled (blue), 2019; 1080p video projection with sound, blue carpet, drywall, steel studs, door strip curtain, neon signage, speakers, various cables and hardware; installation dimensions variable; video TRT of 7 minutes and 30 seconds, looped
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Untitled (01/06/2021), 2020; Tattoo on silicone rubber, synthetic hair; 20 x 17 inches
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Ryan Hawk’s exhibition distorts of trespass showcases the artist’s continued analysis of masculinity and whiteness within both popular and sub-cultural modes of expression. Intentionally manipulating the common judicial term “torts of trespass,” the exhibition’s title serves to mirror the complex and contradictory forms of expropriation addressed in his work.

Central to the exhibition is Hawk’s 2019 film installation Untitled (blue), in which a 1958 heartache-ballad-turned-millennial-pop song is taken to score a mock horror narrative that scrutinizes traditional representations of engendered emotional capacities. Recent sculptures in silicone will also be displayed, such as tattooed ‘flesh-objects’ that confront appropriations of marginality and dispossession as well as abnormally long appendages that disorder subversive performances of power and privilege.

Spanning many mediums and approaches, Hawk exhibits in distorts of trespass an invitation to transverse the borders of our collective imagination and recognize the mechanics of fear that uphold systems of domination and oppression.