Artists

Nic Hess

Press release

What ties together Rembrandt, Michael Jordan, the Swiss Alps, Tintin, and Peter Greenaway? They, along with an array of characters from pop culture, comics, art history, politics, film, and consumerism, converge in Nic Hess's visually striking world. His latest exhibition, "Talking to me?!" at Grieder Contemporary, presents a tapestry of interwoven narratives and showcases a cacophony of voices, references, and dialogues – all within a uniquely crafted realm of site-specific tape work and bold graphic gestures.

Upon entering the space, visitors are greeted by a small relief (2018) seamlessly merging with the gallery's background. It features recognizable corporate logos, signs, and symbols encrusted in wood relief, akin to precious Asian religious script intarsia – a nod to the emerging "consumer religion" of the global shopping mall. Notably, a second relief made of cardboard with a figure of a large open mouth (“The winner takes it all”, 2024) recalls Gordon Matta Clark's cutouts, followed by another collage relief depicting glimpses of Rembrandt's portraits overlapping each other (“Rembrandts Flowers”, 2024).

On the opposite side of the wall, a grand ship in a storm unfolds – reminiscent of historic landscape paintings of the romantic period yet also evoking a constructivist form transfiguring from a wave, all executed in tape work. Among these works lies a poignant piece: A collage of the map of Ukraine, made from a vertically mirrored cover of a Ferdinand Hodler catalog overlaid with lines reminiscent of rain or hail, indicating the Russian aggression war. («U-Rain», 2022)

As one navigates the gallery space, they encounter unexpected elements such as a large "Davos" sled, whose wooden slats appear to have continued growing and serve as a portal to Hess's exploration of "Swissness." A dynamic relief referencing old Swiss tourism posters hangs next to a seemingly idyllic scene with a sailboat, ironically referencing the logo and corporate colors of the now-defunct Credit Suisse bank from last year (“Adieu CS”, 2024). Nearby, a Ricola herbal candy pack is displayed with bronze casts of sheep pellets, radiating both humor and irony.

In this exhibition, Nic Hess prompts reflection on the mystery of the self and the inherent inconsistencies within us all. As viewers navigate through the space, they are reminded of the complexities of the world and the need to embrace tension and confusion in a rapidly changing environment. Through his art, Hess sparks awareness and invites us to contemplate the intricacies of human experience.