A gas pump with two backward-counting clockfaces in place of a meter (Time Pump, all works 2017) established the theme of time travel in Justin Fitzpatrick’s recent show. Suggesting ghosts from the past poking urgently into the present, several white-cast resin fingers protrude from the braided-rope base of the sculpture. Creepy though this imagery may be, the inspiration for Fitzpatrick’s work is not science fiction, but rather a cult historiographical text by author and activist Arthur Evans, whose 1978 book, Witchcraft and the Gay Counterculture, argues that accurate accounts of gay culture are nonexistent due to systematic suppression by the heteronormative patriarchy. Taking up Evans’s revisionist cause (“We will have to write our own history”), Fitzpatrick has reappropriated iconography from Art Deco posters, social realist murals, medieval heraldry, and Celtic illumination
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