23rd March to 4th May 2012
Private view Thursday 22nd March, 6 to 8pm
Eleven is delighted to present an exhibition of limited edition prints featuring work by prominent contemporary artists including Peter Blake, Jake & Dinos Chapman, Damien Hirst, Gary Hume, Sarah Morris, Grayson Perry, Marc Quinn and George Shaw. The exhibition also includes gallery published prints by Kent Christensen,
Peter Blake’s Marilyn (2010) depicts the star at the peak of her appeal. Blake highlights the starlet’s trademark features - her luscious red lips, perfectly coifed blonde hair, and sensual gaze. The print is covered in diamond dust further remarking on her timeless celebrity.
Jake & Dinos Chapman’s Etchasketchathon etching series (2005) perverts children’s colouring books, turning innocent scenes into gruesome nightmares. Mixing found imagery with intricate drawings; each image evokes a hellish childhood where kids, bears and clowns become dangerous creatures ready for the worst.
Kent Christensen’s prints playfully satirise modern life, where indulgence is the new god. His depictions of sweets and culinary delights investigate cultural and personal associations with food, as well as the tradition of still-life painting.
Damien Hirst prints encompass some of Hirst’s most popular motifs. A kaleidoscopic array of butterflies form Altar from Sanctum (2009). Set against a flat black background these colourful specimens appear to be carefully collected and arranged to create a psychedelic vision of mortality and death. Tryptophan (2010) is among Hirst’s inexhaustible series of spot paintings and prints. Each reflects a highly manufactured process yet they are crafted so no two colours are the same.
Gary Hume’s calming cool colours and white splatters of surf inform Seahorse (1998). Typical of Hume’s style, he begins with a photograph which he crops to create graphic images implicit of its figurative roots. Through employing his distinguishing flat colours and clean organic lines the abstracted image emerges injected with a human presence.
Natasha Law's signature semi-nudes work as snapshots of the intimate. They capture a moment, whether posed or spontaneous and allude to the intimacy of domestic spaces her models inhabit. Alternating between the traditional genres of nude and portraiture, Law’s lines emphasise her model’s uniqueness and exalt an essence of femininity.
Sarah Morris’s Department of Water and Power (
Grayson Perry uses the medieval mappa mundi model to chart his beliefs and social commentary in Map of Nowhere (2008). In immense detail, he satirically comments on current events and the paraphernalia of modern life. From people praying to corporations to tabloid catch phrases strategically placed within the work, Perry utilises an antiquated craft to enlighten our contemporary world.
Marc Quinn’s Six Moments of
Ben Turnbull’s A.C.M.E (2010) reflects his fascination by the global dominance of American culture. His works unsettling effects result from re-presenting the toys of our innocent youth in symbolic forms that reveal the shocking truths about war, death and guns in the world’s most powerful country.
George Shaw’s images are taken from his extensive archive of photographs from the Tile Estate near
Jonathan Yeo is known for his distinguished portrait paintings of high-profile sitters from celebrities to dignitaries. Yeo’s painterly patches of colour have served as a point of departure for transforming his traditional portraits. In Bush (2007) he trades his brush strokes for erotic scraps of flesh from pornography magazines to craft this influential political figure.
For further information on Printed Matter or forthcoming exhibitions at Eleven please contact
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