Desire Obtain Cherish(D.O.C., 美國,1975年生)本名強納森•保羅(Jonathan Paul),現居住及創作於美國洛杉磯。2000年起以街頭塗鴉在藝術圈迅速竄紅,於美國各大藝術博覽會嶄露頭角,2015年D.O.C.受邀在威尼斯雙年展期間於著名的百夫長皇宮酒店(CenturionPalace)展出,2016年更受紐約第五大道精品百貨薩克斯(Saks Fifth Avenue)邀請合作,結合時尚與藝術展出其經典系列「融化中的棒棒糖」(Meltdown)裝置作品。D.O.C.別具一格的大膽創作手法使他深受資深藏家的喜愛,紐約文華東方酒店亦將其作品納為官方收藏。

畢業於世界著名設計學府紐約帕森設計學院(Parsons School of Design)的D.O.C.,創作結合街頭藝術、普普藝術、概念藝術及挪用藝術,呈現手法橫跨多樣媒材與型態,並以嘲諷和黑色幽默的態度挑戰觀者的價值觀著稱,試圖透過作品討論現代社會中關於性、性別、藥物、金錢、名氣以及社群網路等敏感議題。人稱「藝術壞痞子」的D.O.C.不僅在作品上顯露他對世俗文化的批判,也透過化名揭明現代社會對於慾望三階段的無限循環,「渴望(Desire)、獲取(Obtain)及珍惜(Cherish)」,The Armory Show總監班傑明•格努齊奧(Benjamin Genocchio)亦曾形容他「就像社會的良知,以美麗及誘人的外表包裹令人不悅的事實。」

不斷對當代藝術帶入新衝擊的D.O.C.透過一貫幽默諷刺的風格,2017年於Bluerider ART舉辦個展,以《#yourkiddingright》標註個展,展出多件首次於亞洲露面的作品。D.O.C.的創作由文字至圖像、平面作品至立體裝置,毫無框架侷限,挑戰觀眾對於藝術的既定印象,具有強烈視覺效果的創作背後,是對於社會現象的精準捕捉,同時也藉由作品的話題性引發觀者間的討論和反思。作品〈The Target Market〉,由直白的文字標語輔以浮華的金色背景,引出「這是藝術?」和隨即衝擊出的「甚麼是藝術?」概念激盪,多層次地引導觀者思考藝術的本質。D.O.C.作品雖具有十足的挑釁意味和深沉的意識探討,卻也因自嘲、自娛的態度使人會心一笑,藝術壞痞子的酷玩也將透過此次個展《#yourkiddingright》一覽無遺。

Desire Obtain Cherish (D.O.C.), a.k.a. Jonathon Paul, is a Los Angeles, USA based artist whose works have attracted an audience worldwide. From early roots in L.A.’s street art scene, his repertoire has grown to encompass major international exhibitions such as the renowned Venice Biennale art festival in 2015. New York’s famous Saks Fifth Avenue in 2016 invited D.O.C. and his iconic Meltdown installations to take part in an art and fashion collaboration. The artist’s unique vision and fresh style have also attracted the eye of respected collectors such as New York’s Mandarin Oriental Hotel.

As a graduate of Manhattan’s prestigious Parsons School of Design, D.O.C. has worked in the fields of fashion and advertising and has brought with him to the fine art world an insider’s knowledge of society’s obsession with brand and image. This obsession and it’s effects are often parlayed into parodying, satirical, and darkly humorous messages within his work. Through a multifaceted approach spanning the genres or street, pop, and appropriation art, D.O.C. tackles sensitive and provocative issues of materialism, fame, addiction, gender and sexuality, identity, religion, and politics. He plays on our desires, questions what’s obtainable, and mocks what we cherish, shining a light on the ills of consumption and the societal pressures that foster it. The New Yorker art critic Benjamin Genocchio characterized his work as “not malicious, even if his works cut to the bone. He is more like our social conscience, delivering up uncomfortable and unpleasant truths wrapped in the most beautiful and seductive of packages.”

To achieve his vision, D.O.C. has cultivated highly skilled and often painstaking production techniques in media such as cast resin and plastics, gelatin pill capsules, and traditional acrylic and oil paints. In his piece Heresy’s Cross, a cast resin sculpture, D.O.C. has juxtaposed the permanence of religion in our cultural landscape with the impermanence and fleeting satisfaction of melting milk chocolate. The product is a clash of lasting faith with that of a fleeting high. In addition to symbolism, D.O.C. has long made witty text a central aspect of his work, which is also evident in Afterparty, a piece reflecting the current defeated mood of the U.S. political landscape. This after-party isn’t a jubilant celebration but rather a dire representation of both political parties and their respective colors as sadly deflated blue and red balloons. In another ode to expectation versus reality, D.O.C. gives us It’s Been Swell, but the Swelling’s Gone Down, a timeline of contemporary art mythology printed on canvas. From an image of Picasso, then moving on through a vibrant collage of works by pop and street art notables, Andy Warhol, Roy Lichtenstein, Takashi Murakami, Damien Hirst, and Banksy, the imagery ends with canvas peeled back exposing gold bars beneath, a darkly humorous and self deprecating view of underpinnings in the world contemporary art.

In the solo exhibition, #yourkiddingright, D.O.C. continues to push the boundaries of fine art and forces us to once again confront the questions of “what is art?”, and whether art is supposed to please, provoke, humor, or alienate. With Yeah, I Keep up with Art we are treated to a satirical and uniquely 21 st century piece, wall-mounted text blurbs capturing a superficial conversation on art where Twitter hashtags replace substantive reflection. In his piece, The Target Market, he boldly states, “If you’re offended, you’re the target market.” D.O.C. is now cleverly conveying through mounted text what Duchamp once did with his mounted urinal. Through all its biting humor, sarcasm, and emotionally and politically charged messages, D.O.C.’s work is still richly pleasing and enticing to the eye, his glossy and often deeply saturated colors capturing our attention and leaving us transfixed, cleverly bringing his audience full circle back to a desire to obtain and cherish.

 

Select Solo Exhibitions

2017 #yourkiddingrightBluerider ARTTaipei
2016Servant Of Infinite Distraction,UNIX GalleryNew York
2014AddictBluerider ARTTaipei
2014We Are Known By The Company We KeepUNIX GalleryNew York
2013Galen At The GalenPalm Springs Art MuseumPalm Springs
2013McLaughlin GalleryMcLaughlin GallerySan Francisco
2013KM Fine ArtsKM Fine ArtsLos Angeles
2013Galerie Bel Aire Fine ArtGalerie Bel Aire Fine ArtGen?ve
2012UNIX GalleryUNIX GalleryMiami
2011Lab ArtLab ArtLos Angeles

Select Group Exhibitions

2017Der Blaue ReiterBluerider ARTTaipei
2015In Visual DialogueUNIX GalleryNew York
2015EfflorescenceUNIX GalleryNew York
2015Sweet SensationsWilliam Benton Museum of ArtStorrs
2015Summer Show,UNIX GalleryNew York

Select Collections

The Mandarin OrientalNew York
DiploLos Angeles
Joseph and Diana DimennaNew York
Jose MartosSão Paulo
Gilbert BenhamouMiami
Dirk NowitzkiNew York
Andrei KirilenkoNew York
Chris and Richard Mack.New York
Stephen MackNew YorkNew York and Los Angel
The Ecclestone Collection,LondonUK and Los Angeles
The Feinberg Collection,Los Angeles,CA La Laliberté Collection, Quebec

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