George Rippon. Hacks around my Table

“The Roman rooftop terrace parties in The Great Beauty show a culture that is blocked, resigned, embalmed in elegant decline, where some seek [salvation] and others [release], and intellectuals talk endlessly about what’s wrong and yet inertia overwhelms all forward momentum…” [1]

We sit divided before you. The writer, here, believes in work, the steady engine that pulls them along. As well, there is the hack lurking over there. They believe in down time, that time for doing nothing. Have friends over, p
lay cards, catch up on gossip, watch TV, pet a cat. By nature, they are fairly good company, and make interesting dinner partners. That they remain loyal to their engine, no matter how quietly it hums along to the murmurs of the other, is no easy job.

This is the third time you’ve worked with Servillo now [the first being 2001's One Man Up]. What’s it like working together?

I wouldn’t really know how to describe it now because, having known each other for such a long time, the whole process is sort of an automatic thing. But it’s based on the fact that we get along very well. We share the same sort of ideas. We have a common view of things and that’s very, very useful. [2]

[1] Rachel Donadio, “La Dolce Vita Gone Sour (And This Time in Color)”, NYT, September 8, 2013

George Rippon (b.1983, New York City, lives and works in Frankfurt am Main) studies at Staatliche Hochschule für Bildende Künste, Frankfurt am Main with prof. Judith Hopf. Recent exhibitions include Stiftung Opelvillen (solo), Schleuse, Rüsselsheim, 2013; Greene Naftali, New York, 2013; Sala del Lazzaretto, Naples, 2013.

George Rippon, 
Peinture et Sculpture, Copenhagen