•  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
Saatchi Store
Current Exhibition

EXHIBITED AT THE SAATCHI GALLERY

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Mark Pearson
You're Just A Pair Of Flabby Wings

2008

Aluminium foil, timber gloss paint, German beer mugs, brass, customised plinth

190 x 40 x 31 cm
Describing his work as ā€œtestosterone-fuelled anger management,ā€ Mark Pearson explores themes of masculinity, class, power and British identity through the rough DIY aesthetic of his sculptures. Pearson often uses German motifs as loaded provocateurs, entwining middle Englandā€™s nostalgia for war era nationalism with the skewed values of contemporary yob culture. Posing with the exaggerated insolence of punk, Pearsonā€™s intentionally trashy assemblages humorously reconstruct pomp and heraldry with derogatory relish. In Youā€™re Just A Pair of Flabby Wings, a make-shift squat-decor ā€˜columnā€™ is emblazoned with impoverished ā€˜nobleā€™ crests; it supports a modest collection of Oktoberfest beer steins and a Brandenberg eagle crafted from turkey foil, creating a feeble icon of Mosley-esque working-class sedition.
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Mark Pearson
Nu Brutus

2009

Timber, gloss paint, spray paint, printed stickers, ceramic objects

183 x 47 x 62 cm
When it comes to acts of protest, sometimes sabotage just doesnā€™t go far enough. Parodying the countercultural turf wars of graffiti crews, Pearsonā€™s Nu Brutus started off as a board which he entirely covered in street art stickers, their palimpsest of impudent logos replicating the destructive rituals of the urban underworld. Vandalising the vandalism, Pearson then performed a kind of chainsaw massacre dissection, mutilating the panel into bits before reassembling the parts as a Frankenstein-ish figure. Set on a coffee table-like plinth, Pearsonā€™s monstrosity resolves a barbaric hero, a revolutionary paladin for the cause of couture-chic designer furnishings and the prestige of early modernism that the sculptureā€™s form so ineptly (and critically) approximates.
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Mark Pearson
Cyber Schmaltz Borg

2009

Timber, gloss paint, aluminium foil, German beer mugs

207 x 64 cm
The concept of failure is integral to Pearsonā€™s practice: the dysfunctional structure of the aristocratic class system and social ills of ā€˜broken Britainā€™ become topical malignancies transferred onto his work through both his aesthetics and making processes. Adopting a performative approach to making, Pearson positions himself as an ā€˜angry manā€™, taking out his frustrations in the most masculine pursuit of DIY ā€“ an activity guaranteed to invoke further fury. In Cyber Schmaltz Borg, Pearson approaches building a Nazi-esque standard with all the gusto of a football hooligan on a garden shed rampage. The result is hilariously pathetic, a crude effigy of twisted best-effort: a quasi-monument-cum-beer cabinet inspired by the ridiculous confectionary of Bavarian cakes, it encapsulates the feelings of inadequacy and impotence that underlie white supremacist culture.
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Mark Pearson
The Beast With Two Backs

2009

Timber, gloss paint, aluminium foil, brass objects

208 x 67 x 65 cm

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