From The Village Voice:
In his seven-foot-square riff on the Stones’ 1972 Hot Rocks album cover (in which the band members’ darkened profiles nest within each other like Russian dolls), Gerhard adds a pair of glowing, drippy eyes that confront the viewer from the depths of Keith Richards’s unfathomable brain. In The March (2006), a mob of black figures, their eyes mere streaks of white as if caught in motion by a blinding photo flash, wade through the Washington Monument’s reflecting pool toward an indistinct, backlit blond couple. Is this canvas, covered with gouts of paint spattered across a hellish pink sky, predicting a day of reckoning after four decades of unfulfilled promise? There is a baleful cast to this German painter’s work, but his complex compositions of faux lens flares obscuring outdoor festivals and abstract arcs of bright pigment slathered over idyllic country houses prove darkly alluring.
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