The game is their medium of exchange. Like the other two, this work is stagey and frigid, as if the artist is under the spell of that ever present encroachment of elevated highway, the sign of blighted urbanity. Simon Cerigo wishes to be up to the task of saying something about that condition. In a very general way photos and headlines lend context to that energy. Portrait heads from the history of art acquit Cerigo of the charge of idle play.
Literary humorists find themselves invited in.
Only in the larger works do we see this kinship. One item, in which Jesus is given an Eraserhead T-shirt for a torso and a cartoonish afterthought for a face, is plainly juvenile. Cerigo does better, however, with a contemporary divinity. In the same work the image of a soldier using heel and fire power to crash through a door matches any hyperbole yet advanced to give dimension to that aggressiveness needed when going places in the art world. Some of which Marshal Hopkins could use.