"Razz" Painting

Louis Edward Love V is an American painter working under the umbrella of Postmodern Neanderthal Maximalism, a painting practice that combines prehistoric mark-making, graffiti, abstraction, advertising, music, and cultural archaeology. His paintings operate as maps without legends—layered systems of symbols, language, memory, and American mythology that reward repeated viewing rather than immediate explanation.

Postmodern Neanderthal Maximalism is my attempt to describe a painting practice that begins where originality is often said to end. If postmodernism accepts that every image has already existed in some form, then the only way forward is backward—to the first mark, the first count, the first gesture made before language or theory.

The “Neanderthal” is not a historical claim but a visual one. I deliberately embrace crude, childlike, heavy-handed mark-making: repeated hash marks that recall the earliest systems of counting, instinctive symbols, graffiti, and gestures that feel unearthed rather than designed. Saturated pigments and fluorescent color collide with this primitive vocabulary, as though prehistoric cave painting had encountered contemporary visual culture.

The “Maximalism” comes from accumulation. I work until the painting becomes materially dense, layering symbols, language, memory, advertising, music, and American mythology into a surface that resists a single reading. The image refuses emptiness. Every session adds another archaeological layer.

The work does not end at the front of the canvas. Paint continues across the edges and onto the reverse, where a second image emerges. Every painting therefore exists as two interconnected works occupying a single object, inviting the viewer to move around it rather than consume it from a single fixed position.

But also for real: just trying to survive, meet me in the middle, when i sell enough work that it becomes greater than the sum of the parts, thats the goal.