Bedel Tiscareño, Detumescence 

The Finding of Erichthonius

Bedel Tiscareño


April 7 - May 13, 2023

reception: Friday April 7, 5-7 p.m.


The School of Art Collection and Galleries at Kent State University are pleased to announce a new exhibit, Detumescence, Bedel Tiscareño. The exhibit will be on display, April 7–May 13, 2023, at the KSU Downtown Gallery, 141 East Main Street, Kent Ohio.

Bedel Tiscareño is a Mexican American painter and sculptor from Las Vegas, NV. His work transmutes established historical narratives into fantastical situations conjured from subversive ideologies and puerile make-believe. By combining archetypes from ancient and contemporary political, social and emotional landscapes, Tiscareño creates discursive narratives and incongruous compositions that both satirize and question the inconsistencies of the status quo.

Bedel Tiscareño’s works have been shown nationally and internationally in galleries and art fairs. He holds a BFA from the School of Visual Arts in New York City and attended Otis Art Institute of Parsons School of Design in Los Angeles, CA and Cornish College of the Arts in Seattle, WA. He received a juris doctor degree from the City University of New York School of Law in 2013. He currently lives and works in Cleveland, Ohio.

About Detumescence

Inspired by Aldous Huxley’s novel Ape and Essence, Detumescence is an exhibition that satirizes and critiques recent and current events and foreshadows, as Huxley’s text does, the eventual degradation of humanity into a dystopian society where the state has ultimate authority over an individual’s body, and where books are burned to bake bread. The parallels between Ape and Essence and the challenges currently facing our world – the recent pandemic and the war in Ukraine, to name just two – are too obvious to ignore. If tumescence is the swelling or engorging in response to sexual arousal, a state of anticipation and action, then detumescence, as the characters in Huxley’s book wish for and sing paeans to, is the dissipation of that swollen, potent state.  Just as Huxley’s book is set in a world exhausted from the climax of a nuclear holocaust, the figures in Tiscareño’s work exist on the fine line between vigor and enervation. 

Much of the work in Detumescence builds on the educative tradition of public art works like the Mexican muralists, the stations of the cross in Catholic churches, or dioramas. These works are full of people and action, visually entertaining, a means of gathering, a vehicle for storytelling and communication of values, histories, and versions of the truth. Tiscareño’s work differs from these antecedents in that it simultaneously presents the anti-story, the loss of narrative cohesion, proposing a world where traditional inherited narratives have given way to inconsequential, distractionary vignettes. 

Tiscareño’s work is influenced by the essays on multiplicity and lightness in Italo Calvino’s Six Memos for the Next Millennium. Using The concept of multiplicity, Tiscareño weaves numerous influences into novel compositions that both reference well-established narratives and posit anecdotal scenes that the viewer is invited to engage with in a playful exercise of the imagination.  Through the concept of lightness, his work takes an ephemeral quality whose playfulness is tempered only by an equally perspicacious violence. The whimsicality of the work and its puerile content are the very channels through which weightier subject matter such as conflict, illness, mendacity, nationalism, identity, and love can be addressed. 

This exhibit is free to the public and has been brought to you in part through a partnership with the Massillon Museum’s NEA Big Read events which is an initiative of the National Endowment for the Arts in partnership with Arts Midwest, the NEA Big Read  broadens our understanding of our world, our communities, and ourselves through the joy of sharing a good book For a complete list of Massillon Museum’s NEA Big Read programming visit

This exhibit is presented with support from the Ohio Arts Council.

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