P•P•O•W is proud to present Teun Hocks’ ninth solo exhibition with the gallery. Through these Recent Works, the Dutch artist expands his body of constructed imagery with fourteen photographic works that flex his mastery of process while narrating actions of futility and possibility.
Hocks’ photographic paintings are tedious with layers of production that reveal the enduring patience of the artist while challenging the acute eye of his viewers. He begins each work by constructing a scene in his studio with the help of various props (i.e. ladder, books, and briefcase). Setting a timer on his camera, he jumps in to the scene. Then by hand Hocks paints the gelatin silver print with layers of transparent oil paint; creating a muted palette akin to Dutch still life painters Jan Weenix and Willem van Aelst. The final works operate as a bridge between the traditional process of photography and painting.
In these scenes Hocks positions himself amidst the psychological and philosophical struggles of everyday life; constructing narratives that contain the artist’s tragic wit and comedic humor. Hocks’ love of graphic novels helps to inspire the construction of his work. For example, in his Untitled (crossroad) we find Hocks confronted with a choice of paths and instead, his reaction is to dig himself into the proverbial hole.
Teun Hocks was born 1947 in Leiden, Holland and started taking photographs at fourteen years old. From 1966-70, he studied at Academies Sint Joost, in Breda, where he continued to live and began painting his photographs at twenty-six. In 1980, Hocks started to teach drawing at the Design Academy in Eindhoven, combined with teaching photography at the Rietveld Academy in Amsterdam (from 1991 – 2000). In the early nineties Hocks moved to Breukelen and in 1991 he joined P.P.O.W. He has exhibited internationally for twenty years. There are many publications of his work including the Teun Hocks monograph published through Aperture in 2006 with an essay by Janet Koplos and also The Late Hour a monograph published by De Geus with an essay by Donald Kuspit published in 1999. His work is included in museums and private collections and has been reproduced in major publications worldwide.