Llyn Foulkes has been painting, making installations and music for over 50 years and is, to this day, the permanent outsider, an artist who has been sailing uncharted waters, always changing direction before being landed with critical acclaim or the rewards of a successful art career. He showed a year before Andy Warhol exhibited his Campbells soup cans for the first time at the legendary Ferus Gallery in the 60’s and emerged at the same time as his more famous peers in the west coast art scene; John Baldessari, Wallace Berman, Robert Irwin and Ed Ruscha.
His work ranges from meditations on the nature of photographic images to impeccably painted landscapes of the American West, Francis Baconesque portraits that rage against his father to scathing commentaries on capitalism and commercial pop culture. It is the work of a true Dadaist who continues to play, whose work resists categorization and defies expectations.
Like all artists who have been working for over half a century there is much written about Foulkes and his work and more one could say about his paintings, installations and music – he’s a prolific musician ontop of being a wonderful visual artist – but this is not the platform for it. If you love his work as much as I do then search him out. It won’t take long. He has many admirers. Including me. After all he played with one of the biggest influences on my young artistic life; Robert Crumb. How cool is that.