Stuart (Creepy) BRose

From the artist: We are in the midst of a moment of epochal transformation that started beforeCharlottesville with the demand that the landscape of American memory, embodied infigurative public monuments, be transformed through additions and erasures thatcorrect historical erasures resulting in systematic biases extending into the present. Weare thereby experiencing the greatest wave of iconoclasm in US History.The Anna Pierrepont Series (howardskrill.blogspot.com] has explored this landscapesince its inception in 2013.These latest works, many made between 2018 through 2021, is perhaps an inevitableprogression from the practice that I launched in 2013, modest plein-air drawings offigurative monuments near my home in Brooklyn. The latest studio works on paper arean unanticipated and anguished project originating with the blood of innocents.The most recent pieces concern the splashing of extant public monuments, with aparticular emphasis on graffiti.Monuments exist to promote a master narrative (in this case literally and figuratively)that speaks to the supremacy of the glorified individual (typically generals on horseback)as reflections of collective values.Elizabeth Alexander of the Mellon foundation describes monuments such as these as