Germ on Shrooms is a chaotic and surreal entry in Parris Jaru’s Chronicles of Bad Germ series, continuing his critique of power, influence, and the absurdity of the art world's social hierarchies. The series, which began in 2019, was inspired by Jaru’s observations of how status and validation in creative circles often take precedence over the art itself. The recurring figure of “bad germ” represents the ultimate tastemaker, thriving in an environment where hype is currency and obsolescence is inevitable.
...more
Germ on Shrooms is a chaotic and surreal entry in Parris Jaru’s Chronicles of Bad Germ series, continuing his critique of power, influence, and the absurdity of the art world's social hierarchies. The series, which began in 2019, was inspired by Jaru’s observations of how status and validation in creative circles often take precedence over the art itself. The recurring figure of “bad germ” represents the ultimate tastemaker, thriving in an environment where hype is currency and obsolescence is inevitable.
This piece deviates from others in the series by incorporating three-dimensional elements, adding an almost sculptural quality to the composition. The jagged, textured black forms dominate the center, framing a fractured, grinning face that stares through what could be perceived as prison bars or a mechanical apparatus. Surrounding this figure, Jaru’s signature comic-inspired linework populates the background with cryptic imagery—distorted faces, fragmented speech bubbles, and surreal elements such as the phrase “U smile like a zombie”. The interplay between hand-drawn characters and raised sculptural components heightens the tension, making the work feel like a hybrid between painting, graffiti, and assemblage art.
Jaru’s visual approach recalls Jean Dubuffet’s Art Brut, where raw, unfiltered energy takes precedence over traditional refinement. His use of dark humor and grotesque caricatures aligns him with Philip Guston’s politically charged late works, while the fragmented text and layered meanings evoke the anarchic spirit of Basquiat’s graffiti-inspired compositions. Unlike Roy Lichtenstein, who appropriated comic-book aesthetics, Jaru constructs his own mythology, using satirical language to explore themes of status, paranoia, and the cyclical nature of influence.
The title Germ on Shrooms suggests a state of hallucinatory detachment, possibly an altered perspective where the absurdity of social structures becomes even more glaring. The notion of “shrooms” as a metaphor extends beyond psychedelics—it speaks to a distorted reality, a world where perception is warped by ambition, competition, and self-delusion. The black-and-white palette, bold graphic forms, and interplay of text and symbols turn this piece into a powerful visual commentary on ambition, excess, and the precariousness of artistic relevance.
less...
