Retrofuturology
The title Retrofuturology is taken from an exhibition of the same name that took place in 2011 at Observatory in Brooklyn, NY. The drawings stem from collaged elements of 16th Century medical diagrams, film stills, videogame imagery, cartoons, Futurist sculpture, and 3D computer animation models. Black lines are often uses in outlining figures in cartoons, defining territorial boundaries on maps, inscribing bodily contours in medical diagrams, and forming iconographic or glyph based languages. In these works, the authority of the diagrammatic, medical, black-line style is drawn into question by the contradictory, inside-out people they portray. When the drawings are translated into letterpress prints, or zombified, the lines are embedded in the paper in a singular, impactful, compression and each edition of prints comes to represent a blurring between individual and multiple.
ii (Merged Facades)
H: 15 in. x W: 11 in.
Letterpress Print (Nick Hurd, WASP)
Body Layering, Markers of classification
H: 15 in. x W: 11 in.
Letterpress Print (Nick Hurd, WASP)
Penetrated Core (continued functioning?)
H: 15 in. x W: 11 in.
Letterpress Print (Nick Hurd, WASP)
(Dis)assembled Facial Components, Icon Recognition
H: 15 in. x W: 11 in.
Letterpress Print (Nick Hurd, WASP)
i <> I (Organ Removal)
H: 15 in. x W: 11 in.
Letterpress Print (Nick Hurd, WASP)
Digital construction, dermal precipice
H: 15 in. x W: 11 in.
Letterpress Print (Nick Hurd, WASP)
Zombie form of continuity in space (merged)
H: 24 in. x W 18 in.
Ink, paper
(An homage to Umberto Boccioni)
Zombie form of continuity in space (armor)
H: 24 in. x W 18 in.
Ink, paper
(An homage to Umberto Boccioni)
Zombie form of continuity in space (dynamic contour)
H: 24 in. x W 18 in.
Ink, paper
Ink, paper
(An homage to Umberto Boccioni)
Figures in Movement (after Francis Bacon)
H: 17 in. x W: 34 in.
Ink, Paper
Seated Figures (after Francis Bacon’s Pope Innocent X)
H: 17 in. x W: 34 in.
Ink, Paper
