After many years of thinking about American culture, high and low, Dalek has developed what he considers his most ambitious series of new works. His new body of work revels in a profusion and hyper-abundance of color and planes of space: the familiar lines and iconic Space Monkey references that defined his earlier work are only a starting point for a new series of meditations on the push and pull of forces he sees in contemporary life.
Working largely intuitively and organically, he allows each painting to become a new discovery, and the ongoing series of discoveries that defined his career have now led him far beyond his beginnings when, right out of art school, he found a new way to merge street art, cartoons, Japanese pop, and the energy of the urban punk scene. A major turning point in Marshall's studio practice was working as Takashi Murakami's assistant in 2001. He now goes far beyond Murakami's superflat to a kaleidoscopic play of space and color that embodies the competing and conflicting forces in today s world. James Marshall's new fusion of styles and ideas invite comparisons with the direction of the work of his friend, Ryan McGinness, and the dazzling psychedelic compositions of Fred Tomaselli.
In an era when abundance and profusion have become the subject of art world critique, James Marshall presents a counter argument for plenitude and a generosity of spirit, qualities that all who know him have recognized as his real trademark.