2020. Mixed media. 30 x 10 10 cm.
A grace note to mark the end of this project. Gruesomely detailed. If you don’t know La Specola museum in Florence, then you have a treat in store.
Tag: mixed-media
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Last Laugh – Robert
2018. Fibreglass and acrylic paint, with integrated video guidance system, battery powered PA and looped laughter track. 65 x 36 x 36 cm.
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Last Laugh – Robert
2018. Fibreglass and acrylic paint, with integrated video guidance system, battery powered PA and looped laughter track. 65 x 36 x 36 cm.
Since my time in Pietrasanta, I have been fascinated by representing hair in sculpture. It’s about finding the appropriate system of abstraction, and the hand learning the gestures.
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Last Laugh – Kim
2018. Fibreglass and acrylic paint, with integrated video guidance system, battery powered PA and looped laughter track. 65 x 36 x 36 cm.
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Last Laugh – Kim
2018. Fibreglass and acrylic paint, with integrated video guidance system, battery powered PA and looped laughter track. 65 x 36 x 36 cm.
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Last Laugh – Bashar
2016. Fibreglass and acrylic paint, with integrated video guidance system, battery powered PA and looped laughter track. 65 x 36 x 36cm.
We have all known bullies. They like to excuse it as having a laugh. But at what point will we draw the line, and say this is enough, it’s not funny anymore? At what point does tyranny itself become ridiculous?
Coinciding with a period that saw me erase myself from the internet, this was the first in a series of wearables, designed for performance, that turned into a 3 year dark project, in which I engaged with portraiture for the first time.
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Mummy And Daddy
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.
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Leviathan
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.
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Dieu et Mon Droit
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.
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Innocent (detail)
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.
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For Your Safety and Security
New Sculptures: Bugs, Warheads & Vitrines. Solo exhibition
Eleven Spitalfields Gallery
Curated by Peter Fleissig
4th July – 29th August 2014
11 Princelet Street
London E1 6QHelevenspitalfields.com
020 7247 1816
Open Monday to Friday 12 -6, by appointment. -
National Sculpture Prize
2011 National Sculpture Prize. Finalists exhibition.
Broomhill Art & Sculpture Foundation
June 1st 2011 – Feb 28th 2012
Muddiford Rd, Barnstaple, North Devon, EX31 4EX.
Open daily.Image: Conscience
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Conscience
2011. Bronze resin & nylon rope – 200 x 64 x 60 cm.
What interests me is the embodied nature of consciousness, the fact that our sense of ourselves is the product of a visceral, muscular materiality. Yet, at the same time, this body can seem like a prison, in which we are shackled by brutish desires and appetites. Identity is not monolithic. The brain and body are a parliament. It is a constant struggle, a dialogue, a story. We believe whatever we must, in order to continue living.
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Conscience
2011. Bronze resin & nylon rope – 200 x 64 x 60 cm.
What interests me is the embodied nature of consciousness, the fact that our sense of ourselves is the product of a visceral, muscular materiality. Yet, at the same time, this body can seem like a prison, in which we are shackled by brutish desires and appetites. Identity is not monolithic. The brain and body are a parliament. It is a constant struggle, a dialogue, a story. We believe whatever we must, in order to continue living.
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Conscience
2011. Bronze resin & nylon rope – 200 x 64 x 60 cm.
What interests me is the embodied nature of consciousness, the fact that our sense of ourselves is the product of a visceral, muscular materiality. Yet, at the same time, this body can seem like a prison, in which we are shackled by brutish desires and appetites. Identity is not monolithic. The brain and body are a parliament. It is a constant struggle, a dialogue, a story. We believe whatever we must, in order to continue living.
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Sculpture Promenade
Group show.
The Fitzwilliam Museum
23rd March 2010 – 30th January 2011.
Ann Christopher, Angela Connor, Nick Hornby, Mike Lyons, Nick Turvey, Rob Ward.
Trumpington Street, Cambridge CB2 1RB
Image: Venus and Chief
