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His show, , is “comprised of several portraits of men; a genre that has been present in Locke’s work for over a decade and is a central focus of his practice.In the past six years, the particular gesture of a man’s open mouth with his tongue hanging out has appeared exclusively within this greater context. He was telling you what was going on and wanted you to know that it was complicated, but he was going to break it down for you.The portraits that make up the ‘heads’ of Locke’s sculptural ‘bodies’ seem to emerge from the color saturated surfaces of the panels.

Locke’s modified panels distance the painted surfaces from the walls similar to artist Donald Moffett’s postmodern practice of cutting into his panels and canvases to foreground their sculptural presence.

Instead, Locke harmonizes modernist tropes with his own unique sensibility to the human form.

Fragmenting both the titles of his works and the formal enterprise of portraiture, he presents glimpses of a lexical system of text, images and forms.

In the past six years, the particular gesture of a man’s open mouth with his tongue hanging out has appeared exclusively within this greater context.

He employs this visual trope in order to explore aspects of the gaze and modes of looking exchanged between and among men.[iii] In these new works, there is something strikingly new about the way Locke presents the notion of looking; the portraits are away from or tangential to the wall and are supported in space by poles and pipes that Locke anchors into the surfaces and into panels and plinths that are placed onto the floor.

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