Today on The Masaccio Exchange we have George Morton-Clark, who apparently grew up in south London. So, lacking further information, we’re just going to assume he’s still working out of the land of angels, yeah? OK, moving.
I don’t have a whole lot of “information” or “facts” about old Georgy here. His site offers pretty minimal anything. I don’t even know what medium his works are in, or their scale. I do have this quote from his site:
“Society has evolved a paranoid state of mind because of our ever-tightening freedoms. I see the world as a colliding of consciousness, made violent by its increasing extremes. We are becoming more suffocated in our day to day lives by marketing, religious views and bureaucracy. I use my work to explore the effects of these pressures on each other and ourselves.”
Yeah, thanks George.
So, what we’re left with is this: man that’s a cool style. There’s an inevitable comparison that has to be made to the raw nerve and loose stylings of Basquiat, so consider that noted and made. There’s also possibly a tinge of Bacon, and a lot of other 80’s artists I get fleeting memories of but can’t pin down in my head. This is the sorta work Jack Nicholson’s Joker would’ve spared from the spray cans in Burton’s Batman.
I prefer the more abstracted works at the beginning of his portfolio (and don’t the look wonderful framed in that site? it’s a good visual impression, for sure) to the female forms near the end that I’m already thinking of as his prostitute motif. It’s not that they’re bad, they’re still interesting, they’re just not as superlative as the stuff early on. But don’t take my word, go look for yourself, report back with your thoughts.
So, in conclusion: Naked women with bird heads = awesome. Empty statements about working outside the box of a capitalistic world = meaningless. George Morton-Clark’s work = pretty damn interesting. Class dismissed.
may 12, 2010 12:34: typo: changed ‘group’ to ‘grew’