For the San Francisco-based artist’s second exhibition at Roberts & Tilton, Andrew Schoultz creates chaotic muralistic paintings, but with an ironically subdued and hopeful nature.  In this new body of work, Schoultz addresses notions of blind trust and national public complacency. Several of the works are layered with tones of transparent white paint that push the turbulent imagery into the background, symbolizing a disruptive future under a mask of hope and calm.  The paintings effectively mimic contemporary politics and public affairs, and simultaneously mirror the need for spiritual beliefs in times of suffering.  Initially they appear more minimal than Schoultz’s previous work; however, the overlying surface serenity is in consideration of what is looming in the background. In contrast, other works are painted black, appearing as night landscapes.  The ominous scenes express calmness but suggest that we are on the verge of the unknown and potentially dangerous, and the uncertainty of it is eerie and uncomfortable.  Like relics of history, these works have roots in the past but are relevant to the future.  Even in a drastically changing world, religious, spiritual, and holy rituals are preserved.  Although these works reference monuments, tombs, and sacred places, what they are monuments to, tombs of, and why they are sacred is left unknown. Schoultz’s work is currently showing at Chelsea Visits Havana, Cuba and he is the recipient of the 2009 Campari Commission.