2014. Vitrine, wallpaper, model V2 rocket, model atom bomb and mixed media. 79 x 41 x 129 cm.
The Cowboys and Indians wallpaper that lines the floor of this vitrine was in my bedroom as a child. In retrospect it seems hardly accidental, living as we were in the shadow of Mutual Assured Destruction, another mythic confrontation.
2014. Mixed media. 104 x 134 x 13 cm.
Is this an autopsy or a life-saving operation? In/Out? Independence? Just like our parents, the nation state is more vulnerable than we like to think. Shout out to Thomas Hobbes.
2014. Bronze resin and mixed media, plywood, paint and flag. 66 x 100 x 84 cm.
Edwin Landseer’s allegorical animal portraits are a great source of inspiration, as are Bernini’s illusionist textures. This snarling armoured car is a piece of contemporary heraldry, reflecting the sense of entitlement that power creates.
2014. Vitrine, wallpaper and mixed media. 79 x 41 x 129 cm.
In a dream I was making an artwork involving a battle tank and a pile of rubble. The solution was revealed to me by a man with a dead rabbit (Joseph Beuys, obviously), resulting in a series of vitrines. The title of this one alludes to Francis Bacon’s version of the painting by Velasquez, another portrait of power.
2014. Vitrines, wallpaper, nylon and acrylic paint. Each 53 x 65 x 7 cm.
Marcel Duchamp suggested to Richard Hamilton that he produce his own versions of classical genres, prompting Hamilton’s 1970′s ‘Flowers and Shit’ series, to which I have responded with my own flower paintings, infested with weaponised insects.
2014. Vitrine, wallpaper, nylon and acrylic paint. 70 x 75 x 7 cm.
Marcel Duchamp suggested to Richard Hamilton that he produce his own versions of classical genres, prompting Hamilton’s 1970′s ‘Flowers and Shit’ series, to which I have responded with my own flower paintings, infested with weaponised insects.
2014. Vitrine, wallpaper, nylon and acrylic paint. 70 x 75 x 7 cm.
2014. Vitrine, wallpaper, nylon and acrylic paint. 53 x 65 x 7 cm.
Marcel Duchamp suggested to Richard Hamilton that he produce his own versions of classical genres, prompting Hamilton’s 1970’s ‘Flowers and Shit’ series, to which I have responded with my own flower paintings.
2014. Solid cast bronze, gold plated and enamel paint. Unique. 28 x 14 x 5 cm.
In granting the State a monopoly on violence, we become dependent on it. This totem of benign/malign authority melds Artemis of Ephesus with that latter-day avenging angel, the Tomahawk missile. Shanghai is one in an ongoing series of regional interpretations of the idea.
2014. Solid cast bronze and acrylic paint. Edition of 5. 28 x 14 x 5 cm.
In granting the State a monopoly on violence, we become dependent on it. This totem of benign/malign authority melds Artemis of Ephesus with that latter-day avenging angel, the Tomahawk missile.
2014. Solid cast bronze, cotton fabric, copper wire and coins. Unique. 28 x 14 x 5 cm.
In granting the State a monopoly on violence, we become dependent on it. This totem of benign/malign authority melds Artemis of Ephesus with that latter-day avenging angel, the Tomahawk missile. Kongo is one in an ongoing series of regional interpretations of the idea.
New Sculptures: Bugs, Warheads & Vitrines. Solo exhibition
Eleven Spitalfields Gallery
Curated by Peter Fleissig
4th July – 29th August 2014
11 Princelet Street
London E1 6QH
elevenspitalfields.com
020 7247 1816
Open Monday to Friday 12 -6, by appointment.
2014. Solid cast bronze and acrylic paint. Edition of 5. 28 x 14 x 5 cm.
In granting the State a monopoly on violence, we become dependent on it. This totem of benign/malign authority melds Artemis of Ephesus with that latter-day avenging angel, the Tomahawk missile.
2014. Vitrine, wallpaper, nylon and acrylic paint. 53 x 65 x 7 cm.
Weaponised insects are camouflaged to blend in with floral wallpaper.
