Henry Hussey Jay Price Augustine Carr
Curated & Directed By Julie Bentley
Colossus as statue, poetry and decoder.
Colossus as monument and destroyer.
But Colossus will fail and fall.
After presents three artists rebuilding in the ruins.
As precursor to Frieze 2017, Julie Bentley curated and directed a one night only event set within Caroline Garden's historic Chapel. Jay Price, Henry Hussey and Augustine Carr previewed new site specific work exploring faith, conflict, history, the written word, destruction and creation.
I have had the wonderful, terrifying and tragic experience of psychosis; watching electric lights drip into shadows, being more than the sum of my body. Through in-depth self-analysis, self-portraiture emerged as the centre of my practice. Activism moved into my work in a quiet form that reflects the communities it references, and I investigate turning the personal/alien into the universal/relatable. The process has to reflect the substance and the constant dilemma of exposing psychotic intimacies’, and unpleasant decisions of how much. There are no shortcuts to content when it comes to my work. When I take an easy route the work suffers and the message has no backbone to travel on. The process is obsessive and repetitive; it’s arduous and begins as physically uncomfortable, pushing through to agony, because it has to be.’ - Jay Price
'The works I have created for Colossus draw upon Paradise Lost and the paintings by William Blake for the Book Of Revelations. The undercurrent of despondency and upheaval we experience on a daily basis with this sense we are on the verge of collapse. The conflicts we are directly involved in are pushed to the periphery, as they are not convenient to our cultures mortality and perception of itself. The human form represented in a contorted and unnerving manner revealing the prevailing darkness that has come to define us.’ - Henry Hussey
‘For this show, I have made a large cup and two enlarged painted book covers. The cup was modelled in one hand in plasticine, in a minute or so and was then digitally enlarged, so the asymmetry is amplified and takes on a life of its own, sitting somewhere between myth and fantasy. The lumpen character of the cup is both brutish and gigantic so I like it’s title 'Glanz auf der Nase’, which translates as a ‘glance at the nose’- which came about after an accident in my studio, where the oil of the original plasticine maquette seeped into a Freud text on the Fetish. The two prints are photographic enlargements of painted children’s book covers. The titles of the works are the titles of the books. They are both abstract and material and work on many levels’. - Augustine Carr