A N D N O W



A R T I S T S      A R C H I V E     F U T U R E     C O N T A C T





C O C O   Y O U N G

N O V . 1 0 . 2 0 2 1   -  D E C . 3 1 . 2 0 2 1





AND NOW

AND NOW

AND NOW

AND NOW

AND NOW

AND NOW

AND NOW

AND NOW

AND NOW

AND NOW

AND NOW




TWO MOONS

Images heaved up out of the wet earth. Remains of long voyages. The refuse of ships scuttled in unfamiliar inlets, exhausted by wear.

A Provençal landscape rendered in a style familiar to both the Synthetists and the Nabis, but with the vertigo of more than a century’s removal.

In the night’s salt air, a lamb grazes and drinks from a calm pool. Two figures bathe, somehow welcomed by the wild countryside.

A road winds through a winter garden. A woman reads under a blue light. A fortress stands in front of a horizon of sand.

Looking back towards ‘the emotions which lie in things’1; these are pictures drawn from a distance.
Inspired by folktales, ex-votos, and the argot of Marseille, they were not made for translation.

-Alexander Shulan

1 by R. Fry and D. MacCarthy, Manet and the post-impressionists; Nov. 8th to Jan. 15th, 1910-11