22 X 26, Collage on Vintage Painting, 2023.
“In Bradford Lovett’s ‘Gaythering at the Fam Farm,’ a disembodied hand reaches down from the sky with a pink donut in its fingers, almost making contact with jubilant tongues rising from little floating Mario clouds. A dude with gold-plated pecs sits next to a man in white shirtsleeves who’s groaning over a cauldron full of bones, with two apocalyptic creatues in shiny red boots poised bearby and a slain Goliath in the foreground. A pair of cows hols space witha. ballerina and a giant frosted cubpcake as a witch-hatted Boy Scout rolls by on a recumbent wooden bike and a dragon carries a bound figure away over the peak of a falling-down barn.
These forms - felled, firtly, familiar, fantastical - are meticulously hand-cut and collaged by Lovett out of his vast collections of magazines, (porno)graphic ephemera and old Mormon art….. The oil painting that’s the backdrop for this scene was a gift from a friend whose grandmother - ‘no friend to the queers,’ said the friend - painted it. Lovett accepted the canvas as a challenge, queering this bucolic space with a population that includes both frolicsom fun and the real stuff of transformation. ‘I only use what I can find,’ Lovett told me. ‘That’s part of the challenge.''“
22 X 26, Collage on Vintage Painting, 2023.
“In Bradford Lovett’s ‘Gaythering at the Fam Farm,’ a disembodied hand reaches down from the sky with a pink donut in its fingers, almost making contact with jubilant tongues rising from little floating Mario clouds. A dude with gold-plated pecs sits next to a man in white shirtsleeves who’s groaning over a cauldron full of bones, with two apocalyptic creatues in shiny red boots poised bearby and a slain Goliath in the foreground. A pair of cows hols space witha. ballerina and a giant frosted cubpcake as a witch-hatted Boy Scout rolls by on a recumbent wooden bike and a dragon carries a bound figure away over the peak of a falling-down barn.
These forms - felled, firtly, familiar, fantastical - are meticulously hand-cut and collaged by Lovett out of his vast collections of magazines, (porno)graphic ephemera and old Mormon art….. The oil painting that’s the backdrop for this scene was a gift from a friend whose grandmother - ‘no friend to the queers,’ said the friend - painted it. Lovett accepted the canvas as a challenge, queering this bucolic space with a population that includes both frolicsom fun and the real stuff of transformation. ‘I only use what I can find,’ Lovett told me. ‘That’s part of the challenge.''“
