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. 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.
2010. Pink Portuguese marble. 45 x 31 x 17 cm.
I like to use materials not so much as a medium, but more as a physical fact, poetically entangled with historical, political, and other associations. Working with marble in Pietrasanta, one is surrounded by the skills, traditions and examples of neoclassicism – heroic, dramatic, illusionistic. Yet this metamorphosis of the body into stone betrays a fundamental unease, a fear of the body’s messiness and complexity, which provided the context for my work. I have sampled or isolated elements of neoclassical style, unsettling yet strangely familiar, in the service of what I consider a blackly comic form of existentialism.
2010. Pink Portuguese marble. 45 x 31 x 17 cm.
I like to use materials not so much as a medium, but more as a physical fact, poetically entangled with historical, political, and other associations. Working with marble in Pietrasanta, one is surrounded by the skills, traditions and examples of neoclassicism – heroic, dramatic, illusionistic. Yet this metamorphosis of the body into stone betrays a fundamental unease, a fear of the body’s messiness and complexity, which provided the context for my work. I have sampled or isolated elements of neoclassical style, unsettling yet strangely familiar, in the service of what I consider a blackly comic form of existentialism.
