A quick shout out to the new collaged gender fuckery Judith Supine uses that openly plays with the man. The Marlboro man that is; the ubiquitous cowboy that appeared in advertisements for thirty-five years, thanks to Philip Morris and Leo Burnett. Enveloped in mythology and archetypes of masculinity, countless men died of cancer emulating this hunky wind-whipped hero of the imaginary west, including at least four of the original actors who portrayed the fictional character, according to the LA Times.

Not to get sidetracked from Supine’s intensely playful machinations with the knife and magazine. The Street Artist has successfully redirected his studio and street practice in recent years, stripping back the fluorescence many of his 2000s-2010’s pieces were known for. Here he is choosing to focus instead on his unexpected recombinants of limbs, features, and proportions to present otherworldly figures who are just human enough to disturb your subconscious, and make you laugh.

By playing with the same magnetic images that drew millions to the messages in glossy magazines of the 60s-90s, Judith winks flirtatiously at you with clever bait and switching. Pulling apart our instincts and letting them lay next to, or sit upon, or lick, or pop out of one another, Supine daily plays with fantasy and fiction, and very possibly fear.

Muddguts in Williamsburg hosts Manlbdro right now, where they say “The Cowboy series is a continuation of the artist’s pursuit of placing art between the worlds of abstraction and representation.”

The collages featured on the show are the original images that were used for the posters on his bus shelters ad take over around NYC city streets. We have published the ad take over installations HERE and HERE

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