EXHIBITED AT THE SAATCHI GALLERY
You're Just A Pair Of Flabby Wings
Aluminium foil, timber gloss paint, German beer mugs, brass, customised plinth
190 x 40 x 31 cm
Describing his work as âtestosterone-fuelled anger management,â 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 Englandâs nostalgia for war era nationalism with the skewed values of contemporary yob culture. Posing with the exaggerated insolence of punk, Pearsonâs intentionally trashy assemblages humorously reconstruct pomp and heraldry with derogatory relish. In Youâre Just A Pair of Flabby Wings, a make-shift squat-decor âcolumnâ is emblazoned with impoverished ânobleâ 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.
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 doesnât go far enough. Parodying the countercultural turf wars of graffiti crews, Pearsonâs 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, Pearsonâs monstrosity resolves a barbaric hero, a revolutionary paladin for the cause of couture-chic designer furnishings and the prestige of early modernism that the sculptureâs form so ineptly (and critically) approximates.
Cyber Schmaltz Borg
Timber, gloss paint, aluminium foil, German beer mugs
207 x 64 cm
The concept of failure is integral to Pearsonâs practice: the dysfunctional structure of the aristocratic class system and social ills of âbroken Britainâ 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 âangry manâ, taking out his frustrations in the most masculine pursuit of DIY â 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.
The Beast With Two Backs
Timber, gloss paint, aluminium foil, brass objects
208 x 67 x 65 cm