by Marina Rybak
Pop surrealism of Southern California-based artist Josh Agle, a.k.a Shag seduced ardent collectors and attracted a hipster crowd, nearly a cult following worldwide.
Influenced by the commercial illustration, his retro art is inspired by the mid-century design, the advertisements, slick graphic packaging of the era and the insatiable consumerism of the 50’s and 60’s. The escapist Shag phenomenon dwells in the time warp.
Shag is a storyteller of sorts. His narrative is witty, campy and sexy, yet a touch sinister. His kitsch-colorful, squeaky-clean panels and canvases are a smoldering labyrinth that appears smooth on the surface, but holds deep pockets, full of secrets and mysteries.
So popular with devoted fans, he cannot keep his super cool “merchandise” on the shelves. Squeezed by the highbrow fine art elite into a lowbrow genre, Shag is impossible to ignore now and is so hard to resist.
His fourth New York solo exhibit is on view at Jonathan LeVine Chelsea Gallery through May 5. Titled Thursday’s Girl, the new body of work draws its inspiration from The Velvet Underground classic “All Tomorrow’s Parties“. Written by Lou Reed about downtown art scene of the day, the song muses through the themes of celebrity, fame and chasing the fleeting trends. Incidentally, it was Andy Warhol’s favorite. The focal point of the juicy series is the rise and fall of the “it” girl, who attempts to surf pop culture waves from one moment to the next.
By now it is self-evident that I adore Shag’s work. I would be quite content to exist in his environments. I do not mind the fact that he reshuffles his characters and scenery templates from one exhibit t to the next. Nor do I mind his mocking wink at our large consumerist appetite, while unabashedly profiting from it. I like him for many reasons and sometimes his color choices just make me happy. So I have to admit that for me Shag is simply irresistible.
