Pharmaceutical Work > Better Living

Back Door
C-prints, U.V. treated gel capsules, artist frame
26 x 36 inches
2007
Cerberus
C-prints, U.V. treated gel capsules, artist frame
26 x 36 inches
2007
Teenage Wasteland
C-prints, U.V. treated gel capsules, artist frame
40 x 50 inches
2007
the Professor
C-prints, U.V. treated gel capsules, artist frame
26 x 36 inches
2007
the Innocent
C-prints, U.V. treated gel capsules, artist frame
26 x 36 inches
2008
the Innocent (detail)
C-prints, U.V. treated gel capsules, artist frame
26 x 36 inches
2008
the Watchtower
C-prints, U.V. treated gel capsules, artist frame
26 x 36 inches
2007
In the Garden
C-prints, U.V. treated gel capsules, artist frame
36 x 26 inches
2006
Merry Go Round
C-prints, U.V. treated gel capsules, artist frame
20 x 43 inches
2006
Elemental
C-prints, U.V. treated gel capsules, artist frame
26 x 36 inches
2006
You Were There
C-prints, U.V. treated gel capsules, artist frame
15 x 38 inches
2006
Sugar Daddy
C-prints, U.V. treated gel capsules, artist frame
18 x 48 inches
2005

"Andy Diaz Hope deconstructs his own digital photographs and painstakingly reassembles the original image in a mosaic of gelatin pill capsules, each containing small portions from several original prints. As a continuation of his Morning After Portraits series, Diaz Hope has turned his lens on the hidden landscapes of drug culture—from high school hideaways to psychiatric institutions. “Better Living,” the title of his first solo exhibition at Catharine Clark Gallery, references the promise offered by pharmaceutical companies, specifically science megacorp DuPont’s ad slogan from 1935 through the mid 1980s “Better Things for Better Living…Through Chemistry.” This slogan spawned rigorous social critique in the 1960s and 70s, such as with pop artist Roy Lichtenstein’s “Peace Through Chemistry.” All of the works in the exhibition are housed in self-made and precisely constructed acrylic and Plexiglas frames—this further underlines the level of detail and meticulousness inherent in Diaz Hope’s work and belies the artist’s background as a Stanford educated industrial designer. The deliberately soft compositions offer a dynamic counterpoint to the finely constructed technical execution of each piece. "

- Catharine Clark Gallery press release