CB Hoyo is an artist who found his niche reproducing iconic art & imagery. He does so, however, in a way that parodies the very work he’s trying to reproduce. I slid into his DM’s earlier as well, you can check out the full interview: here.
Even though his portfolio is full of reproductions of Warhol, Rothko, Haring and even Banksy; his art is original. That’s because his entire career is based on parodying the internal deadlock between reality and irrationality wherein lies the fabric of the “fake.” This hyper-focus on the surface layer of being & not being can best be seen through his work dealing with pop-culture facades.
Artist CB Hoyo: Parody of the Fake and the Real
Representation is the key to fake art. The “fake” or inauthentic suggests, in itself, the existence of a given outside authenticity. An authenticity, however, that is overshadowed and in its place stands this fraud…this “fake”. It gains it’s being only, through the negation of its being (that which it is meant to represent). But CB Hoyo counters that sentiment. He does this by vigorously proclaiming & even celebrating the reality that lies within our notions of fake themselves. His work says to me “fake is real and real is the true fraud.”
To be fake is contrary to the makeup of the artist. The artist concerns oneself with projecting the inescapability of inner truth. This is important because truth is the highest goal for an artist to attain to. Think about it. An Artistic endeavor means to give credence and objective expression to an otherwise internal and solipsistic subjective world. CB Hoyo, Instead, creates his own art that says “there is nothing new under the sun.” He hijacks the subjective consciousness of the artist and puts his own filters on it.
Artist as a Critique of Art
Critique of art is very much about trying to relate the social to the personal. CB Hoyo has inextricably cemented the two together visually. Firstly it has to do with the massive shadow of art history as a whole (in reproduction). Secondly, it has to do with how we are to interpret this massivity? What resulted for CB Hoyo was a curious dedication to the art of self-effacing.
CB’s work draws images from images. This renders the work into an infinite regression of sorts. Lines of meaning constantly fall back onto themselves like a collapsing star. The trick here is that he is using critique as a countermeasure against copy. That is, namely, to give his own voice to this pre-established art history. To add his own pieces to the puzzle. The best example of this is how he reproduces the work but he also offers his own sharp and often ironic insights.
The Art World Lampoon
I tried to put my thumb on the artist CB Hoyo but it turned out to be more difficult than I’d expected. That’s because I just couldn’t get a sense of what he was doing and getting away with it.
The art world itself is his canvas. That’s what I’d say if I had to sum his work up in a nutshell. It all becomes clearly apparent the minute you see this stuff, by the way. His portfolio is all reproduction. He has reproduced art that has apparently sold for millions of dollars. Yet apparently important organizations like Artnet.com feature him heavily along despite his blatant degeneracy.
For me, the portfolio of this artist draws on the contemporary culture of the art market itself. That’s because much of what’s been seen through the large art houses can only be described as the most pompous sort of classism. Hoyos’s depictions are obviously a confused reaction to this. It’s so clearly stated in his vagrant obnoxious remarks he smears across the canvas. In one of his images depicts a copy of Warhols Maos with the words scribbled over it. “YOU KNOW I’M RICH I OWN A WARHOL.” It shows how art has become a status symbol in many ways.
The Reproductionist works of Artist CB Hoyo
There is this heavily ironic element to his work. Consequentially it inherits a strong satirical element. That’s because the use of disjunctive images juxtaposes each other in order to create the needed liminality for critique. It opens a space for auto self-reflection. CB Hoyo uses language to overlay a pre-existing artwork. Subsequently, this renders the bottom of the work the subject of ridicule: the butt of a joke.
That plays on the critic culture of social media none the less. His art presents a facade within a facade. A deep play in visual language. He uses the implications of the art world itself as his canvas. Namely the sensationalism, as well as how art is used as a status symbol.
The use of language in art has become a more common contemporary device. Where baroque and Rococo arts focused on the detailed beauty inherent within space. That is, been
Pop-Art as Pastiche “Low Brow”
The greater art movement of “niche” artists tend to stick to pop-culture images. But there are few artists who can move away from that and not be labeled “low brow.” For me Banksy, Ron English, Kaws & Alec Monopoly are the few who’ve been able to use pop-culture imagery and get away with appealing to the “high art.” Their art commands for
Art shouldn’t bridge the gap of becoming its own auto-critique. Many critics often say that a text of this nature should lend itself to a multiplicity of varying interpretations. But as for the artist CB Hoyo, he blatantly crosses that threshold. Appealing first to our common natural inclination to form our own opinions based on aesthetics and then seemingly telling us what those inclinations ought to be. Like an art auto correct. Only that they lend themselves to a more pervading threshold or ethos of societal perception within the art world, to begin with.
Here are some of my favorites from his Instagram page:
1)The use of pop-culture imagery was heavy implemented by the likes of Warhol, Lichtenstein.
2)A cardinal rule of artists is not to lend any details of pieces meaning lest he breaks that sacred ground.
3)Using a vulgar sensibility he’s able to lampoon art.
4) Self-Effacing art is now the rule. Auto-critique is a parody of not only the spectacle but also the spectator.
5)All of the above
6) Some of his pieces are rather simple. The message is quick and makes the medicine go down in the most despiteful way.
Note: Almost as if there is something fraudulent with the art itself. Artists like Rothko, Adolf Gottleib and Jackson Pollock were often criticized for their lack of “technicality” in their artwork. It could be argued that Jackson rose to prominence
7) More Rothko’s just continue to bring this erudite pedantic into this blog that we’d otherwise not have had. That’s all thanks to the Artist CB Hoyo.
8) That is true. Don’t temp the people now.
9) His technical skill is still pretty impeccable. It’s amazing how he can oscillate between these different styles of art. It’s almost as if his very technique in itself is mocking the given simplicity of modern art.
10) He draws from such a wide breadth of art movements, artists and aesthetics.
11)Sometimes the art is so good I have a seriously difficult time trying to tell if its really a Basquiat or not?
12) By bringing illustration into the gallery artists like Warhol and Lichtenstein caused us to question the boundaries between commercialism and fine art. Advertisements were the loud and obnoxious texts of visual stimuli to impose on us.
13) Yet another Basquiat. But then again, who gets tired of Basquiat? Or is it a CB Hoyo? I can’t tell.
14) Looking at the portfolio of CB Hoyo is like getting your very own art history lesson. Only it’s filled with sarcasm and proverbial middle fingers.
15) Jean Michel Bis-quick for your pancake batter.
16) Sometimes the most profound statements can be made in just a simple and straight forward manner.
17) Here’s what I mean when he starts to get into the realm of the “low brow” yet maintains that “high brow” sensibility.
18) This might be the only one that the Simpsons haven’t done.
19) Yes…yes I do like fish DICKS.
20) The Artist CB Hoyo can’t even leave the old man David Hockney out of the mix. You got yours Hockney. Own it.
21) We can only ever really dream about owning any of these paintings.