at Galleri Urbane through april 01
by Todd Camplin

I have resisted writing about Theo Wujcik work, up at Galleri Urbane, because I had
such a visceral rejection of his paintings when I walked in the door. I thought to myself,
here is yet another re-fried Pop artist. However, there is nothing re-hashed, but rather
Wujcik has rubbed shoulder to shoulder with the best of them for many years. My first
reaction, began to crumble under the weight of information I learn about his body
of work and my continued observation of his work
I also started to understand his work as satirical in nature. These paintings are not an artist's sad hero
worshiping musings. And much like a grenade joke, it took time to detonate his intentions to me. At
the time, I wanted to leave immediately, but something compelled me to stick around and figure
out what I was missing. I talked to others that instantly liked the works, but I had seen so many artists
attempt to just repeat images of big names like Warhol and Rosenquist, that I wanted to be cautious
not to fall for an artist saying nothing new. Clearly, Wujcik is breaking down the hero status of these
Pop artists by creating portraits of them or just their type of artwork. What is funny is that Wujcik uses
all the tricks to pretend to glorify his victims, while still remaining quite respectful of their accomplishments.
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It is true that Wujcik’s pedigree is impressive. His work is in several important museum collections
and he has shown with several historically significant artists, but none of that matters if the work
doesn’t accomplish conveying a strong idea, which I think he has done masterfully. Though he
applies some subterfuge, deconstructing the power structures is really his game. By picking on
individual artists, Wujcik is planting visual bombs to help bring down the entire art value system.

Balloon Dog , 2014
90” x 78”, Acrylic on canvas
“Time Square” 90x78” acrylic on canvas
Point of Impact, 2014
78” x 102 1/2”, Acrylic on canvas