Dan Lydersen‘s recent paintings are a reconciliation between past and present, particularly in regard to Western culture’s notions of spirituality and the relationship between society and nature. Drawing from a variety of contemporary and historical sources, from the Renaissance to modern cinema, literature and popular culture, the paintings are an attempt to come to terms with the present through the immediate marriage of today’s visual culture with that of the past. In his work, the beautiful and the gory, the pop and the Neoclassical, the fictional and the real all come to interplay – somewhat forming a utopia where all these elements live in harmony.
Both theatrical and satirical, comical and somber, the paintings pose a view of humanity that is steeped in the existential turmoil that lies between materiality and spirituality, where society trudges persistently forward into the future while the human search for meaning and purpose as mortal animals remains unresolved.
Thierry Bruet has painted and sculpted for over 35 years. His grand canvases shaped by a consciously classical slant and executed with traditional oil techniques, are witty, satirical and replete with carefully observed details. One side of him tends towards caricature and the grotesque, the other towards elegance and refinement.
Alex Jenkins is an illustrator and cartoonist based in the suburbs of South London. He graduated from Camberwell College of Arts in 2015 having studied an Illustration BA.
In his work, he explores satirical and critical subject matter through a distinctive and vivid style. Jenkins tries to avoid the pretense but wallow in humor, whilst touching on the absurd and surreal.
Building upon the foundation of forgotten ephemera, the meticulously crafted collage art of Human Wreckage transforms the simple into the sublime. By assembling images culled from varied historical frames, ranging from mid-century pop to antiquity, the works evoke an ethereal timelessness.
The unconventional juxtaposition of diverse subject matter simultaneously elevates the mundane and humbles the divine. It is at once violently innocent and joyously satirical.