
Pieter Schoolwerth
With a mood that often suggests a trippy twenty-first-century recapitulation of Richard Hamilton’s iconic 1956 proto-Pop collage Just what is it that makes today’s homes so different, so appealing?, Pieter Schoolwerth’s newest works propose a world swollen to the point of disfigurement with the flotsam and jetsam of the capitalist now. The consumerist heartache at the core of Hamilton’s sardonic dream home was founded on a welter of newfangled appliances, product logos, and hypertrophically idealized male and female forms. For their part, Schoolwerth’s virtuoso paintings swarm with low-budget