Chris Hood

Born in 1984, in Atlanta, USA.
He lives and works in Los Angeles, USA.


2010        M.F.A. Studio Art, San Francisco Art Institute, San Francisco, USA


Chris Hood is an American artist born in Atlanta who currently lives and works in New York City. Though representational in nature, his paintings, sculptures, and drawings reflect an understanding of the abstract nature in which personal and social imagery collide in the twenty first century. Combining traditional techniques with the languages of digital territories, his work often features images culled from american counter-culture, art history, and mass media rendered abstract by translation.

Drawing parallels to his interests in psychophysics, the paintings are cast in a liminal space with a unique reverse-stain technique that rests his compositions in ambiguous and perceptual tension. Likening them to faded advertisements or t-shirts turned inside out, Hood invests the evocative physicality of his paintings with themes of identity, memory, and loss. The resulting works hint at challenges with the idea of static perspective while pointing to larger questions concerning the role of images and contemporary painting.


2016         Bernard Ceysson Gallery
Slurried, 2015, is a large and ostensibly tumultuous canvas on which seethes a chaos of coloured punctuation and undetermined visual information. Figurative elements and circumscribed signs presented in a very graphic register are amalgamated into an organic cloud. But while there is a great visual interference, there is no thickness of paint overloading the surface of the canvas. The matter itself is as smooth as a photograph. And for good reason, because the paint applied to the rear shows through the porous support it has permeated.

Chris Hood's paintings are "crossings" of paint and only their reverse side shows in inverted reflections, without revealing the front of the painted scene: we are behind the curtain. In this sense, the artist plays with the picture/object which he turns inside-out like a glove. First, he populates the unprepared canvas with stylised iconography drawn from popular visual culture, halfway between a comic strip aesthetic and low-culture digital imagery (clipart, emoticons... ). Expressive "angry eyes", schematic clouds, lightning, personified hearts drawing large puffs from a cigarette, are portrayed with the same gamut of primary colours, and seem sometimes stretched, sometimes split, like so many faulty copy-and-pastes. The wandering figures that might recall the psychedelic cartoons of Kenny Scharf are connected by a network of green lines. This diagrammatic circuit that returns from one canvas to another like a sort of applied signature also indicates the course of the painter who "surfs" on the canvas. These encrustations of light imagery are then borne away and made restless by a coloured field, a spiral stratospheric cloud at once impressionist, pointillist and 'tachiste'... in this sense, the artist evokes the tortured sky in Van Gogh's Starry Night, 1889, which he considers one of the first abstract paintings in which the artist distorts the plane of the picture. This formless diluted and projected magma of paint, in the manner of a saturation and going on and ever on, creates a visual overflow, a slurry of signals of contaminated chromaticism, which overwhelms and engulfs the small acid-coloured icons. Burnout is also the title of another painting in the series.

In a detached way and through a screen, Chris Hood paints his scepticism with regard to the digital, impermanent, deafening and blinding vortex with irony. And not without humour with regard to the enlightened figure of the painter, he works blindly and turns the picture over. He thus avoids the sinking into pictorial material that transpires surreptitiously. The dullness of the indices of the side that is worked on mutes the hubbub painted at a distance on the other side.

Anne Favier
Solo shows at Ceysson Gallery
Chris Hood, Paris
October 19 - December 09, 2017

Chris Hood, Genève
May 19 - July 16, 2016

Group shows at Ceysson Gallery
September 26, 2015 - January 30, 2016

Solo Shows

Novel Gazers, Lyles & King, New York, USA
Bacchanal Blues, , Galerie Ceysson & Bénétière, Paris, France

Bad skin, Bernard Ceysson Gallery, Geneva, Switzerland
Octopi Blush, MIER Gallery, Los Angeles, USA

Slow Drag in Margaritaville, Lyles & King, New York, USA
TBT, Lyles & King, New York, USA
Chris Hood & Carl Mannov, Rod Barton, London, United-Kingdom

Tony Clifton Eats for Free, Et al., San Francisco, USA

Group Shows

Known Unknowns, Saatchi Gallery, London, UK

Iconoclasts: Art Out of the Mainstream, Saatchi Gallery, London, United Kingdom

Fort Greene, organized by Adrianna Rubenstein, Venus Over Los Angeles, Los Angeles, USA
Chris Hood & Zach Reini, curated by Domenico de Chirico, Brand New Gallery, Milan, Italy
1,000 Dead Suns, Lyles & King, New York, USA
A Short Story, Field Contemporary, Vancouver, Canada

Feed the Meter, Bernard Ceysson Gallery, Luxembourg
An Arbitrary Group of Paintings, Et al., San Francisco, USA
Chris Hood & Carl Mannov, Rod Barton, London, United-Kingdom
Material Art Fair, Et al., Mexico City, Mexico
Space Answers, Bannerrette, New York, USA
Macbeth's Bat Mitzvah, One River Gallery, Englewood, USA

Anthropocene, CANADA , New York, USA
Humor Risk, Kathleen Cullen Fine Arts, New York, USA
Chinese Zodiac Compatability Test, New York, USA

Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict, Et al., San Francisco, USA

Spaced, Jack Hanley Gallery, New York, USA

The Immortal, Queen's Nails Projects San Francisco, San Francisco, USA

BOOM!, Southern Exposure, San Francisco, USA
Formal Gardens/Wild Nature Pehrspace, Los Angeles, USA

Children of the Revolution, curated by Keith Boadwee, Federal Art Project, Los Angeles, USA
Cal Jam Too, Blankspace Gallery, Oakland, USA
Don't Squat With Your Spurs On, Diego Rivera Gallery, San Francisco, USA

Up And Coming, Rialto Center for the Arts, Atlanta, USA

Group Show, The Museum of Contemporary Art of Georgia, Atlanta, USA

Breathing Room, No 9, Athens, Greece

While You Were Sleeping, Malerancia Eight, Florence, Italy

Chris Hood, by Emile Steer, The Elephant, États-Unis, Printemps 2016

More Now than Then: When Art Reaches Back by Thomas Micchelli, Hyperallergenic, Août 2014
Anthropocene at CANADA by Eric Stuphin, www.paintingIsDead, août 2014
Post NADA report, by Sharon Butler, www.TwoCoatsofPaint, mai 2014

Chris Hood Process And PaintGreer, by Larissa Erin, www.BeautifulDecay, avril 2013
Aesthetics of the Spectacle by Amelia Sechman, Daily Serving, juin 2013
Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict group show at Et al. gallery in Chinatown, by Leora Lutz, San Francisco, San Francisco Arts Quarterly,, mai 2013

The Importal by Carol Anne. McChrystal, Art Practical, février 2011
Jury for VIP Art Fair Names Top Three Artist Picks,by Rosalie Jovanovic, Gallerist, juin 2012
Chris Hood - Residency
Chris Hood - Residency
December 22, 2016
Chris Hood - Bad Skin
Chris Hood - Bad Skin
May 19, 2016