"The exhibition gathers three strands - haircuts, still lifes, and a storefront - into a single season, a climate of attention for small, ordinary acts. In the haircut series, intimacy is staged at close range: a pair negotiating blades and trust, one seated in vulnerability, the other holding the shears. The vertical format elongates the encounter, turning an ordinary trim into something ritualistic, even a little dangerous. Flesh tones are chalky, almost earthen, as if the body were drawn from the ground."
"The still lifes carry November 's melancholy more literally. Pears and peaches slump on folded cloth, their skins overtaken by mold that Geerk paints with a startling tenderness. This rot is not grotesque but luminous - the blue-green fuzz becomes a kind of halo, dignifying what has passed its season. One canvas shows a peach on a plate interrupted by a moth, its shadow falling across the bowl like a small reminder of mortality."
Lenz Geerk presents November, his first solo exhibition with MASSIMODECARLO in London and his first return to the city in six years. The show centers on moments of liminality—what lingers after ripeness and what begins as something ends. Three strands—haircuts, still lifes, and a storefront—compose a single season of attentive, ordinary acts. Geerk paints in grey-greens, mauves, rusts, and bruised pinks that hover between shadow and afterglow. Haircut paintings stage intimate, elongated encounters; still lifes render rot with luminous tenderness; storefronts face outward, completing the cycle of inward and outward attention. A persistent feeling of uncertainty and quiet persistence pervades the works.
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