The work of Alec Huxley is a mirror of the contradictory nature of human duality. As a dream state would it invokes past and future, logic and absurdity, reason and lunacy. The brush strokes are laid with such a soft, yet concise facility as to invoke a sense of another reality unfolding before our eyes upon the finite space of the canvas. Alec’s work traverses many roads in his own neural circuitry; from the finessed aesthetic of surrealism, to the phantasmagoria of the science fiction and western pulp magazines of the 1940’s and 50’s, to a certain sense of existential search for truth are all uniquely encapsulated in a way to give the canvases a Kubrickian sense of depth in both composition and concept. We are happy to present this month’s "Spotlight" of this intense and introspective artist: Alec Huxley. To see more from Alec’s brush be sure to go to www.alechuxley.com
I like the anonymity of masks and helmets. I like thinking in binary - black and white, male and female, good and evil, not necessarily because I believe that's how things are but because they're usually definitely not. To show things simplified is a comforting, unspoken reminder of how complex they are. I like technology and thinking about the future and I like imagining life in the recent past (particularly the American West) and I also like combining the two. The space helmets are a symbol of exploration but also of science and knowledge. The characters frequently levitate but they're wearing normal clothes - its whimsical but there's a disconnect and the illusion might break at any moment. I like juxtaposing symbols and people. I like boiling things down to archetypes. Domestication is a thin veneer and the animals are a reminder that we're animals just the same. I make a lot of my characters like I see myself - floating around the world, trying to protect my head while exploring the beautiful craziness.
A great specter is looming over the art world: the specter of Inter|Sekt. For far too long we have watched the artists of our generation turned into a disposable commodity, bought and sold by the galleries, stifled in their expression by the tastes of the art consultants who purchase pieces on behalf of financially minded clients who want a "solid investment".
They have been amalgamated into schools, said schools are a device of gallerists and art historians to divide and conquer the creatives and free thinkers.
For we live in a nation which thinks itself to be free yet is not, they expect the same of their artists.
Our culture has been raped and plundered by the upper echelon, picked apart and sold by the same greed mongers who claim to be it's patrons. The tool which has most effectively stunted the growth of modern American art in particular is the clever indoctrination of this idea of schools to not only the art student but anyone whom even reads a brief survey of the history of art sees that it is broken up into these categorized schools; the philosophies of these various sects creates conflict, division, and ultimately destruction of the morale and submission to the established order. Thus rendering the creative spirit confused and useless.
This helps curb the rebellious spirit of the average citizen outside of the art world in other spheres of society.
Art history is a lie and galleries are dens of thieves!
Inter|Sekt is not destroying the schools or the galleries, we are simply showing you they were never real, at least not in a world outside of that constructed by academics to sell text books to art students.
The reign of the gallerists and art consultants is over when you want it to be.
From the ashes of the indoctrinated schools of every form of art shall arise The New World Creative.
-Steven Lee Matz-
The inter|sekt manifesto
Gus Romero IV