Angus Pryor

The Paintings of Angus Pryor

Culture shot in the AtriumThese paintings are large and demonic in nature the work is resistant from the institution, not only in terms of scale but as a reaction to the use of the ready made and how artists have totally embraced this object as an overriding statement about contemporary society, I recycle this notion and displace the ready made back into the made by reusing it within an Art Historical context namely re-introduce the ready made to the language of painting. And indeed use the ready made to create the images in paint on the canvas, these images are often, people, Childs toys, Large Inflatable’s and road kill but once pressed into the canvas are all describe through the language of paint, and react together so that the process disappears and all that remains is the relationship of one mark next to another. The surface of the Canvas is dealt with by spots of paint and plasticine cookie cut outs and bubbles tying the objects together, these create a tension as if the work has become infected and these painted pustules are the plague that affects our visual purity of the initial objects. The finished paintings create discursive narratives which explore the atomisation within the Contemporary Art world and social responsibility e.g. Paintings lineage the rise of the Duchamp, pop and Warhol’s factory and its legacy, along with our relationship to ideas, the self and each other, and their use within contemporary practice. I use image based social clichés such as sex, war, relationships and the alienation of domestic bliss to start my narratives The work references “A no holds barred approach” and pursues a more is less manifest, it uses as its source Artists such as Veronese and Tiepolo and Assyrian freezes along with , Yves Klein, Phillip Guston and Jeff Koon’s. These painting are a fall back to narration but hide underneath their colourful lush surface a controversial critique of Contemporary Art practice and a social underbelly. I place myself as the painter in a uncomfortable position dealing with subjects I don’t enjoy made with objects I don’t respect on oversized canvas’s difficult to work on with semi industrial paint which is impure and colours that have no harmony I often paint over seemingly successful segments to create a whole image. The results are an ant-aesthetic displacement. That leaves the viewer with a whole lot to take in. The work sets out to be difficult to look at; it isn’t an instant image easily accessible but a Painting that needs time to reveal itself to the viewer.

> Matter and Metaphor – an article by Chris Hunt

> Angus Pryor in Introduction to Contemporary British Art c.1987-2007 Routledge 2009

> University of Gloucestershire School of Art & Design