Varelas’s works stage collisions between the optimism of modernist avant-garde aesthetics with the discarded and degraded clutter of contemporary Europe in the fallout of the 2008 economic crash.
Their scale and structure makes them mirrors. In Clair, Maid Costume, F/orange, Varelas constructs a vaguely feminine character out of scraps that allude to the absence of sensual fulfillment: the head is an image of an orange, perpetually glowing and inedible; the hips and stomach an upturned hood in camouflage print, leading into the cone-shaped pubis with its sputtering soy leakage. In Varelas’s work, the human is something perpetually at the very edge of disintegration; in Jane, Maid Costume, C/pink, the collaged elements project off the surface of the paper, as if barely attached, and an image of a black candle seems to chart the figure’s demise. Despite everything, these figures seem to say, we are here.
Text by Ben Street
Because we recognise Jannis Varelas’s large-scale collaged personages as such – because they occupy space in a similar way to us, and are constructed along figurative lines – it’s difficult not to draw parallels between their bodies and ours. Apparently facing us in a manner more confrontational than conversational, they’re nightmarish figures, cobbled together out of collaged images, scribbled pencil and scraps of clothing; one drips soy sauce from its groin, like unhealthy-looking urine. And yet the clarity of their compositions has a contradictory elegance that harks back to modernist design; their geometric heads and arms recall early twentieth- century theatrical costume.
Thank you for your enquiry!
Your message was sent and one of our Admin team will respond as soon as possible.
If you have an urgent question, please call our front desk on 020 7811 3070.
Essential Information Before Your Visit:
Click Plan Your Visit for full information on upcoming closures.
Register for email updates
Be the first to hear about the latest Saatchi Gallery exhibitions, events, offers and news