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P·P·O·W exhibits new large-scale mixed media drawings by Aurel Schmidt
Aurel Schmidt, The Apocalyptic Bride, 2017. Charcoal, colored pencil, graphite & silver shellac on paper, 64 1/4 x 59 inches. Image courtesy P.P.O.W, copyright Aurel Schmidt.


NEW YORK, NY.- P·P·O·W is presenting a solo exhibition by Aurel Schmidt. I Rot Before I Ripen, features new large-scale mixed media drawings as well as an installation. Schmidt uses gestures from landscape to the doodles of pre-pubescent girls as a vehicle to explore art historical tropes, infusing her works with girlish desire and erotic pleasure. Her complex, detailed drawings often depict hybrid or amalgamated forms that disorient the viewer and introduce absurdity, and oftentimes morbidity, into seemingly picturesque scenes. Images of butterflies, flowers, spider webs, snakes, skeletons, penises, and vulvas co-exist in a hyper erotic landscape of sex and death. Using her personal biography she simultaneously examines heterosexuality from a playful, erotic, and adventuring female perspective and investigates how identity can be newly invented.

For the last decade, Schmidt has exposed myths about the body using drawing as her main vehicle of expression. Even though populated by such images as butterflies and flowers, the works presented are darkly monochromatic, and depart from the delicate detail and color for which Schmidt has been recognized. I Rot Before I Ripen presents a somber tone, bringing demanding urgency to her works, underlining the depth of the female experience and issues surrounding ageing and mortality.

Schmidt’s inspirations are wide ranging, from the work of Edvard Munch and Gustav Klimt, to Japanese Edo screens, Nancy Spero’s goddesses, Hallmark greeting cards, street wear, graffiti, children’s book illustrations and boyfriend’s tattoos. I Rot Before I Ripen interweaves art and the artist’s personal experience to depict a free and direct female expression of sex, love, psychology and politics.

In addition to her large-scale drawings, the exhibition includes an installation with athletic tee shirts Schmidt has treated as canvases. Combining hand drawn sexual imagery, glitter, decals, and other collaged elements with the readymade contemporary iconography of the tee shirt, Schmidt turns these items from youthful masculine boy attire into female objects of desire. From iron on photos of Justin Bieber to iconic magic mushrooms to the World Trade Center represented by two large penises, Schmidt provocatively challenges gender stereotypes and sexuality, through works that playfully weave together grunge, punk, and skateboard culture, with landscape, erotica, and glitter.

The installation offer a burlesque vision of male culture, bringing together a series of shirts, many of which belonged to male figures in Schmidt’s life, including her ex-husband, former lovers, and her current boyfriend. Presented variously as faux graphic design and personal objects of memory and desire, the work aims to highlight and perversify the boy’s club aspect of street wear and skateboarding apparel. By appropriating the iconography of brands such as Supreme or Palace, the works both fetishize and make fun of the purported elitism of these brands, undermining the perceived significance of their brand and labeling.

Aurel Schmidt was born in Kamploos, British Colombia and currently lives and works in New York. Schmidt was included in Phaidon Vitamin D2 and has exhibited nationally and internationally. Solo exhibitions include Deitch Projects, New York & Peres Projects, Los Angeles as well as self organized pop-up exhibitions throughout New York City. Schmidt was included in the 2010 Whitney Biennial and has contributed to group exhibitions at Romeo, New York; Lomex, New York; Andrea Rosen, New York; Marianne Boesky, New York; Marlborough, New York; Saatchi Gallery, London; and Museum Moderner Kunst Ludwig Wien, Vienna; Deste Foundation For Contemporary Art, Greece; & Garage Center of Contemporary Culture, Moscow.





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