We were all having such a hard time saying goodbye to Christian Rogers' Read It and Weep, that Lusi, our intern from Lewis & Clark, wrote a short review of it. Thank you, Lusi!

"Shock factor can be presented in a multitude of ways, in terms of color, form, style, and text, and in his most recent work Read It and Weep, Christian Rogers uses those qualities to fully encapsulate that feeling. It is easy to find oneself treading the fine line between identity and visibility, both within the self and the other, particularly as an artist. That notion comes to the foreground when a work becomes inherently grounded with a personal mark, a gesture, or your identity as an individual and an artist. Rogers harnesses this in-between ground to create jarring and evocative pieces that challenge not only his own convictions, but those of his audience as well.

Considering the current societal and artistic state of hyper mediation and disinterest with personalization, Rogers’ choice to paint his works on ephemera, the fleeting, rosy pages of The Financial Times is astute. The choice of medium grounds the work with a specificity of time and place, making it easily accessible, much like the accessibility and abundance of newspapers everywhere. With his shift from a more formalist and abstract style, to this current figurative and narrative style, Rogers also creates deeply meaningful and intimate works.

Tabletop Offering,  2016, monotype, silkscreen, and acrylic on newsprint, 26 x 22.5”

Tabletop Offering, 2016, monotype, silkscreen, and acrylic on newsprint, 26 x 22.5”

The perspective in these pieces is rich, both in a literal sense—such as in Avocado Offering where the foreground is drastically shifted in relation to the background—but also in a more symbolic manner. It is the responsibility of the artist to create the art, and the responsibility of the audience to take it in, and it all boils down to a matter of how a piece is approached. It is interesting to relate something so metaphorical as perspective (think: your lens as an audience/artist/human being) to something so visceral as sight. Yet, it would be difficult to function without either, and Rogers, aware of this dichotomy, creates images that pack a punch: attractive, memorable, and connected with universal sentiments.  

His work is more personal than universal in this particular series, yet it is still capable to subtly address little tid-bits of pop culture and current news, particularly considering the queer medium (read: the unconventional material and the non-heteronormative subject matter.) Even his smaller black and white collages offer a tasteful yet scandalous romp through the inner workings of Rogers’ creative process. And despite their absence of color and more apparent use of a mixed media technique, the pieces are equally bold.

Untitled II , 2016, Xerox and ink on paper, 9 x 12”

Untitled II, 2016, Xerox and ink on paper, 9 x 12”

Much like the offerings of fruit and other objects in some of Rogers’ pieces, this series is an eager offering to his audience—Read It and Weep is sexy, it’s unconventional, and it’s a hit."
—Lusi Lukova

Kyle,  2016, monotype, silkscreen, and acrylic on newsprint, 26 x 22.5”

Kyle, 2016, monotype, silkscreen, and acrylic on newsprint, 26 x 22.5”