•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
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Current Exhibition

SELECTED WORKS BY James Capper

Ripper Tooth A-F (A/P)
James Capper
Ripper Teeth A-F (A/P)

2011-2012

Steel

Dimensions variable
Taking things out of context – recasting a functional object in a non-functioning capacity, let’s say – is a familiar trope of twentieth-century modernism that the work of James Capper both addresses and amends. Capper makes new objects that suggest existing ones (hydraulic pumps, cutting blades, ploughs), and by doing so generates a new creative function for that object: the making of marks on a surface. These, then, are drawing machines, their actions gouging or scraping new forms in a receiving material, and sculptural forms too, their forms abstracted, almost modernist. The Ripper Teeth act as locomotive elements attached to an existing machine: thrown out in front of it into deep or difficult terrain, they pull the machine along by dragging. The motions of the Teeth are recorded, both in the earth itself and, often, through video documentation, as components of a performance of sorts. That performative element brings up the organic allusions central to Capper’s work. These are, unmistakeably, claws, dinosaurian in their shape and implication of hugeness.
Nipper (long reach)
James Capper
Nipper (Long Reach)

2012

Painted steel, hydraulics, plaster

130 x 32 x 80 cm/ Base: 130 x 40 x 100 cm
Nipper (Long Reach) is like a crab’s claw designed by an industrial engineer; both threatening and familiar, it parallels organic and mechanical movement in a mutually enlivening way. Capper’s works treat the mechanical as aesthetic. Their occupation of space is an active one, their traces – in soil, on stone, in air – the delicate and deliberate marks of a drawing hand.

Text by Ben Street

James Capper's BIOGRAPHY

James Capper
Born in 1987, London, UK
Lives and works in London, UK



SOLO EXHIBITIONS


2011
Ripper Teeth in Action, Modern Art, Oxford

2010
The Long Way Round, Hannah Barry Gallery

2008
James Capper, Wieden & Kennedy, London
Drawings for Machines, Hannah Barry Gallery, London


GROUP EXHIBITIONS


2010
Let There Be Sculpture, New Art Centre, Roche Court, Wiltshire

2009
The Oil Fields (with Rob Sherwood) Hannah Barry Gallery, London
Time Flies, Hannah Barry Gallery, London
Royal Academy Summer Exhibition, Royal Academy of Arts, London
Bold Tendencies 3, London
The Peckham Pavilion, 53rd Venice Biennale, Venice
Jerwood Sculpture Prize, Jerwood Space, London

2008
Bold Tendencies 2 , London