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Damien Hirst's ‘Kaleidoscope’ paintings reference the spiritual symbolism of the butterfly. Image: Beneficence… https://t.co/G1BSpC3jgM
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Damien Hirst's Psalm: Judica, Domino was published by Other Criteria in 2015 https://t.co/xLyO5GNIKc https://t.co/zxepzgz4pR
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Tom Ormond: Sunbeam, part of the series Eight Horizons, published by Other Criteria in 2014 https://t.co/EkUmPMSbgJ https://t.co/GA48QwX71H
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Damien Hirst's ‘The Souls’ – published by Paul Stolper & Other Criteria, 2010 https://t.co/ONmp3eU1bu https://t.co/92e1D6ZF6e
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Martin Westwood: Supermen Made You But Only Superfluity Will Release You

April 4, 2012 by Georgia

Galerie Fons Welters
Bloemstraat 140
1016 LJ Amsterdam
09.03 - 14.04.2012

From the Press Release:

Galerie Fons Welters is proud to present the first solo exhibition of British artist Martin Westwood. Scattered through the main space of the gallery, self-contained sculptures and wall based works form a constellation that generates a veil of playful alchemy, connecting the natural and architectonic elements. In Westwood’s work the recognizable embraces the abstract and solidifies the familiar strangeness of the quotidian. For example, in the wall based series ‘Boneus’, a car parcel-shelf is cast into polyester resin and juxtaposed with a cast of a puff-pastry twist. Taken from a hatchback car, the parcel-shelf is superfluous to the car’s mechanical workings. Whilst the hatchback is at the low end of the spectrum of cars as status symbols, as much mobility as luxury or status, these parcel-shelves no longer connect to that mobility, nor to the luxury that the car may embody. Rather they hang on the wall waiting for the dreams the machine never fulfilled.

Boneus 4, 2012, polyester resin 62 x 106 x 12 cm - photography by Gert Jan van Rooij

Typical for Westwood’s practice and artistic research is the analysis of the object as a product of economic exchange. As such he focuses on casting objects that rest on the edges of mainstream economy, yet are closely interlinked with it: car parcel shelves and head rests, waiting-room courtesy mints, charity donation boxes and air-fresheners. Quotidian objects that have been rendered unrecognizable become estranged familiarities. In ‘Pere and Terre hang out in Bistro RePeTerre’, two ceramic extrusions stand solidly on a rectangular walnut-veneered plinth, covered by dark smoked glass. The corporate atmosphere of the plinth is contrasted to – yet cohabits with – the organically appearing ceramic extrusions, whose surfaces are compacted and sandy, as if they could dissolve at any moment. Westwood delicately addresses the myths of different economic exchange systems which are made possible not only due to mathematical calculations, but rather the faith we have in them.

Pere and Terre hang out in Bistro RePeTere, 2011, fired-clay extrusions, press-casts of
air-freshener, toughened bronze glass, perforated steel,
walnut box section 60 x 139 x 100 cm photography by Ellie Layco