Curated by artist Mathew Weir. The show brings together a group of artists spanning two centuries: from the Victorian imagery of Richard Dadd, to Wim Delvoye's flayed pig skin; the work selected has an authorship which points to a darker side of creativity. Demonstrating an artistic compulsion to create, the show explores the theme of the artist as solitary recluse, as transgressor, or perpetrator.
A violet from mother's grave
The mind is its own place, and in itself can make a hell of heaven, heaven of hell
Milton, Paradise Lost
Emily Tsingou Gallery is delighted to present a group exhibition curated by British artist Mathew Weir. The exhibition brings together a group of artists spanning two centuries: From the Victorian imagery of Richard Dadd, to Wim Delvoye's flayed pig skin, the work selected for this exhibition has an authorship which points to a darker side of creativity.
Robert Gober works from within the familiar, quietly mutating the banal instruments of everyday life. His hand-crafted objects, such as urinals and washbasins, are inseparable from the essential functions of humanity. The reference to cleansing and excretion, and by implication, obsession, filth and sin, muddies the water of acceptability as the repressed rises to the surface.
Delvoye explores beyond the realms of 'normal behaviour', and does so from a position firmly grounded within it. With a dark humour he performs a perversity in which the acceptable becomes grotesque, in which we are complicit and confronted by our own disgust. Richard Dadd's obsessive detail, or sketchbooks filled with mutilated portraits, would today be recognised as signalling his bi-polar manic depression; his art an outlet for the malevolent impulses which incarcerated him. Louis Wain's work may also be seen as demonstrative of a troubled state of mind. Dawn Mellor's portraits of film stars express the futility of celebrity-desire, a violence which is directed towards one's own seduction.
Demonstrating an artistic compulsion to create, the show perhaps explores the theme of the artist as solitary recluse, as transgressor, or perpetrator. The discomfort we may feel affected by a reflection of ourselves, by what we recognise anew in the world around us. The selection of work balances obsessive mark-making with the seemingly readymade, off-setting dark pathos with a visual pleasure and delight, and a humour that points to the absurdity of human existence.
Image: Mathew Weir, Hydrocephaly, 2001. Oil on canvas 32 x 21 cm
Private view 23 June 2005 18:00 - 20:00
Emily Tsingou Gallery
10 Charles II Street London