TIM SCHULTZ
Tim Schultz has never cared for the contemporary. His mind as a painter and philosophically is instead voraciously inclined towards particular European artists and ideals aberrant within their own anomalous art historical term. His heroes, unchanged over the thirty years of his career, distinguish themselves in their radical lack of regard for Academic or cultish conformity in single-minded and blinkered pursuit of their own infamy and excess, embarrassments to their peers and decidedly pre-modern, even if inhabitants of the Twentieth Century – like Dali. “The absolute shamelessness of pride.” (Schultz)
His recent paintings are excursions in psychoanalytic structure buried within a labyrinthine visual frame. In these works, Schultz consecrates Dali’s perversity and attenuates it with Guimard’s fantasmal caprice, confessing predilection toward the Art Nouveau (after all a rebirth of the Rococo), an unruly line that connects painting with the architectural, and the breast. He edifies us with “Imperial monuments to the ‘Venus of bad taste’” (Schultz) and demonstrations of mental exhibitionism, sensually and metaphorically entwined and idealized.
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