Library Street Collective is pleased to present a solo exhibition with Tyrrell Winston, titled Brotox. The exhibition debuts three new bodies of work that progress the artist’s use of sport, and its multifaceted pop-cultural and personal implications, as a primary medium.

The exhibition introduces Winston’s Studio Ads, a series of photorealistic oil paintings that recall iconic figures and moments in sports history. With these pieces, Winston looks past the spectacle of the game in a traditional light—scores, statistics, performance—to pivot his interest towards the intervals that exist outside of and in between the wins and losses. Each subject is examined beyond the archetype of the athlete to consider the nuances of their style, aura, habits, and raw emotional reactions, all elements which resonate with Winston’s own history and have served as pivotal agents in his personal and creative development. The “stuff that makes him tick” is rarely the game-winning shot, but rather the psychological lead-up and the heavy aftermath of public performance.

The paintings draw from a spectrum of impactful tableaus throughout sports history, including the infamous “Malice at the Palace” NBA brawl in 2004, Mickey Mantle’s iconic 1952 Topps rookie card, and Allen Iverson’s 2002 “practice” press conference. While these scenes are instantly recognizable to many, Winston executes subtle, subversive alterations to the compositions. In many of the works, he replaces commercial logos with the Winston cigarette brand, a motif the artist has appropriated and adopted as his own artistic signature, and, in the case of the Pistons brawl, inserts himself directly into the stands. Whereas Richard Prince’s Cowboy series, for example, famously removed the Marlboro Man to critique the staged nature of advertising, Winston does the opposite, adding traces of himself into the frame to claim agency over the image and align himself with his subjects. “These aren’t just paintings of iconic or controversial sports moments and figures; they are ads for myself,” he explains. “They are a portrait of the things that I am trying to resolve in my work and in myself.”

In a parallel exploration of materiality, Winston will present a series of freestanding and wall-mounted sculptures that continue his natural progression of sport as a medium. The freestanding works are built upon foundations of rubber tires, water coolers, baseball bases and cement, a nod to both the Motor City and to childhood memories of playing sports in the yard. Skewers emerge out of portals and treasure boxes of yesteryear. In his Blacktop Paintings, Winston fossilizes the same lineage of sports paraphernalia into asphalt, a reference to the streets of California, New York, and Detroit that raised him and propel him today. These wall works function as tangible embodiments of his journey, bringing together disparate, used objects, each carrying its own history of play and labor, to create self-referential assemblages.

Across the exhibited paintings and sculptures, Winston continues to reconcile the “dance between the romantic and the grotesque,” finding a sense of self-affirmation within the remnants of American vanity and athleticism. The show’s title is a portmanteau of “Bro” and “Botox,” and in the context of Winston’s work, it serves as a sharp, witty critique of performative masculinity and the commercialization of the male ego.

Tyrrell Winston: Brotox is on view from May 30 through July 29, 2026 at Library Street Collective.