Sometimes Justin Monroe seems to be the last artist left on earth whose work looks as if it is creator sincerely believes that human beings are more god-like than animal-like. During the age in which most art presents the body as a visual mode of objectification and suffering, it is not surprising to find that many viewers are completely perplexed about how to respond to Justin Monroe and his work. "Is he being completely ironic?" one is often asked, or could his work be concealing more critical intentions? Perhaps it just all adds up to high camp silliness with its relentless focus on surface bbeauty and decoration, or maybe his is the holdout from some distant dream state, intent on capturing the sublime beauty and complexity of the human form and holding it up for the world's inspection.
Like other artists whose work leaves an extremely appealing first impression, Justin Monroe sometimes appears to thrive on being misunderstood. With his sense of drama and astonishing subject matter, he leaves you questioning everything you thought you knew. With the success of his devut book DOWN THE RABBIT HOLE, and the soon to be released book CHERRY. His accomplishments seem to be unstoppable. Always sexually driven and never apologetic has become Monroe's trade mark. At the thematic core of Monroe's art is a satirical, knowingly critical look at the human propensity for addition, voracious predation, compulsive pleasure-seeking, and other forms of extreme behavior. He explores these timeless themes in his inimitable sardonic, dark-hues fashion, in vividly realized images that unsettle as they entertain.
Ladies and gentlemen, Justin Monroe has arrived, with his Fun-house World of Human Horrors and Other Twisted Sights. Step right up and see it with your own eyes.