Trophallaxis and Concreus Palibracchius
Hogarth Brown and Lizzie Cannon
September 10 to October 3
Trophallaxis and Concreus Palibracchius
Hogarth Brown and Lizzie Cannon
Tenderpixel Gallery is pleased to present recent work from Hogarth Brown and Lizzie Cannon. Themes of progression, regression, chaos, persistence, and control are prevalent in both artists' work. Gallery visitors are encouraged to investigate this joint September exhibition.
Hogarth Brown has metaphorically and etymologically applied the concept of Trophallaxis to the collective cultural stomach of humanity: This project serves as an in-depth look at the constant consumption and regurgitation of ideas and obsessions.
Brown's exploitative use of iconic symbols disturbingly reflects what contemporary society collectively worships and glamorises on a daily basis. Inspired by the social critique that William Hogarth (1697-1764) provided the world over 278 years ago, Hogarth Brown uses The Harlot's Progress and The Rakes Progress (1731-1735) as the keystones for his contemporary light box series. This body of work is a complete set of five allegorical light boxes illustrating British society's obsession with fame, celebrity, consumerism, capitalism, social unrest and alcohol. Beautifully crafted and sensitively illustrated, Hogarth's light boxes draw the viewer in. The provocative content locks the viewers gaze so that they have no choice but to ruminate on society's current state of affairs.
Hogarth Brown is a graphic design graduate of Camberwell College of Art. His research interests lie within the deeper motivations of society as well as Russian Iconography. As part of his illustrative research and practice, Brown recently interviewed renowned illustrator Quentin Blake for the Guardian Unlimited video series (2008). Brown lives and works in London as an artist and illustrator. Recent exhibitions include DMH Stallard, London (2008), Il Bottaccio, Grosvenor Place (2007) and N.A.M.E., Coventry England (2006).
Lizzie Cannon investigates pavement as an interface between human activity and plant growth. She endeavors to present nature as a product of symbiosis between what humans consciously construct and what might occur beyond their control.
Concreus Palibracchius was created in response to a botanically barren metropolitan landscape. The artist, like a gardener, has fabricated, nurtured and nourished a deviant strain of 'urban-nature' through the laborious process of hand stitch. Driven by a dark optimism, the organism is a real-life manifestation of a fantasy. It is a plant that has found its niche within an earth-less environment, birthed in the cracks and crevices of endless pavements. Reminiscent of brambles, it appears to have evolved from the concrete in which it originated from. Thriving on this urban substitute for soil, it has outgrown the pots in which it has been cultivated, searching for further nourishment. Spiked with needles, the mass of worm-like tendrils have engulfed a discarded bag of concrete and also taken root in the cupboard below. A secondary growth of oversized tendrils snake their way across the room, their hand like roots feeling for new space in which to grow and dominate. Little fingers emerge from the floorboards as this mutated species encroaches upon the gallery space.
Lizzie Cannon is a Textile graduate of Goldsmiths College (2006) currently living and working in London. Cannon's work has most recently been exhibited at such diverse locations as The Tree House Gallery, Regents Park (2009), the Saint Pancras Crypt as part of Tales of the Electric Forest (2009), and the Islington Arts Factory as part of Autumn Salon (2008). Her work has also been featured as part of two travelling exhibitions: Art of the Stitch (2008-2009) and the Jerwood Drawing 2007 exhibition, where the work was displayed in multiple museums and galleries throughout England and abroad.
Lizzie Cannon's webpage