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CHARLIE SMITH london: The Id, the Ego and the Superego - 10 Oct 2012 to 17 Nov 2012

Current Exhibition


10 Oct 2012 to 17 Nov 2012
11am–6.30pm
CHARLIE SMITH london
336 Old St, 2nd Floor
London
EC1V 9DR
United Kingdom
Europe
T: +44 020 7739 4055
F:
M:
W: www.charliesmithlondon.com











Sam Jackson 'Upside Down Head', 2011
Polaroid & oil paint
10.7x8.8cm
123


Artists in this exhibition: Sam Jackson, Hugh Mendes, Gavin Nolan


The Id, the Ego and the Superego
Sam Jackson, Hugh Mendes & Gavin Nolan

Wednesday October 10th – Saturday November 17th 2012

Gallery Hours
Wednesday–Saturday 11am–6pm
or by appointment

Address
336 Old St, 2nd Floor, London, EC1V 9DR
Contact
+44 (0)20 7739 4055
direct@charliesmithlondon.com
www.charliesmithlondon.com

In his papers Beyond the Pleasure Principle and The Ego and the Id, Sigmund Freud outlined his theories on the structure of the human psyche, where personality exists in a state of constant conflict between three main components: the id, the ego and the superego. The three artists in this exhibition were brought together to illustrate a psychoanalytical reading of contemporary painting in response to Freud’s notions. Jackson, Mendes and Nolan choose to focus on the human form as subject matter, but in doing so treat the subject as a means to investigate the archaeology of the self, and often in order to reveal innermost psychological concerns.

Jackson’s predominantly small scale paintings and Polaroids are analogous to a type of free association where images and memories combine to reveal manifest and latent content, dominated by instinctive violence, melancholia and impulsive sexuality. At once obsessive, fetishist and beautiful, these works reveal both destructive and life affirming drives whilst becoming sublimating mechanisms for both artist and audience. They are instinctive forays into the transgressive that are defined by an unrelenting representation of instantaneous and base gratification. Jackson’s subjects derive from the artist’s own source material as well as found images and embody everything that is innate and intuitive in an artist’s practice.

Mendes’ approach represents an entirely organised and rigorous methodology. His obsessive enquiry into newspaper obituaries is a structured appraisal of the greatest unknown, and should be seen in the context of the artist having suffered bereavement at an early age. By intellectualising and transferring Mendes presents as abstract a wholly emotive subject, and notably continues to repeat renderings of different obituaries at a constant scale and in a regularised compositional scheme. Trauma is bound by a compulsion to repeat in order to overcome repressed anxiety caused by that trauma, and this repetition can be transferred into many forms, one of those being painting. In contrast to the id’s desire for pleasure and its domination by the libido, we find here a death instinct, or as Freud stated an urge…to restore an earlier state of things.

In contrast to the id, although no less intuitive, stands the superego. A parental conscience, the superego assumes the role of the father figure as laid out in the Oedipus Complex. Once identification with the father figure becomes apparent then an internalised system of ethics develops, again in contrast to the pleasure seeking, or at least pain avoiding, amorality of the id. The moralising tendencies of the superego might be likened to structures prevalent in civilisation. For example, monotheistic religion, governed by a God (the omnipotent and ultimate father figure) provides a system of codes that serve to deny the amoral urges of unconscious instinct.

Likewise, Government dictates rules and regulations to its populace. And culture provides guidelines that might or might not be consistent with the intentions of the above. Gavin Nolan’s work interlaces tropes laid out by the histories of religion, art and capitalist society, as the artist maps their symbols onto his painted subjects. By employing linguistic and visual codes Nolan embraces and critiques that which is prescribed by parent culture. Vortices of numerous elements are laid onto his subjects, those commonly being the artist himself, people around him, or composite portraits derived from the historical or popular culture. In this case Nolan has used as subjects himself, Jackson and Mendes, and in doing so constructs new visages by means of reorganisation and invention, whilst asserting his own emblematic overview upon them.

Please contact gallery for images and further information

Biographical:

Sam Jackson
Born: 1977
Education: MA in Fine Art, Royal Academy Schools, 2004 – 2007; BA (Hons) in Fine Art (First Class), Middlesex University, 2000 - 2003
Selected Exhibitions: 2012: The Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson), B1, Victoria House, London; The Serpent’s Tail, Witzenhausen Gallery, Amsterdam; The Id, the Ego and the Superego (curated by Zavier Ellis & Marcela Munteanu), BRAUBACHfive, Frankfurt; 2011: The Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson), B1, Victoria House, London; Everyday (curated by Tony Benn), Ruskin Gallery, Cambridge; 2010: Pokerface, Koraalberg Contemporary Art Gallery, Antwerp; Ray Lowry London Calling, Idea Generation, London (touring to New York & Tokyo); New British Painting (curated by Zavier Ellis & Pilvi Kalhama), Gallery Kalhama & Piippo, Helsinki; 2009: Vas Deferens, CHARLIE SMITH london (Solo); British Art Now (curated by Edward Lucie-Smith), Werkstatt Galerie, Berlin; The Future Can Wait (curated by Zavier Ellis & Simon Rumley), Old Truman Brewery, London; 2008: The Cabinet Braubach Five, Frankfurt (Solo); A Stain upon the Silence (curated by Chris Shilling, Chris Page & Gaboy Gaynor), St. Martins College of Art, London; Anticipation (curated by Kay Saatchi & Catriona Warren), Selfridges, London; UK Best Graduates, White Box Gallery, New York; The Past is History (curated by Zavier Ellis & Simon Rumley), Changing Role Gallery, Naples & Rome; New London School (curated by Zavier Ellis & Simon Rumley), Mark Moore Gallery, LA ; The R.A.5, Lennon Weinberg, New York
Selected Awards & Residencies: 2007: Chelsea Arts Club Travel Award; 2005: Sturdley Award; 2004: British Institute Award; 2003-2004: Florence Trust Studio Award
Collections: Carlos Fragoso, New York; Glen Luchford, New York; David Roberts, London; Sir Norman Rosenthal, London; Kay Saatchi, London; private collections in Belgium, Germany, Netherlands, Switzerland, United Kingdom & United States

Hugh Mendes
Born: 1955
Education: 2000- 2001: MA Fine Art, City and Guilds of London Art School; 1975-1978: BA (Hons) Fine Art, Chelsea School of Art, London
Selected Exhibitions: 2012: The Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson), B1, Victoria House, London; The Serpent’s Tail, Witzenhausen Gallery, Amsterdam; The Id, the Ego and the Superego (curated by Zavier Ellis & Marcela Munteanu), BRAUBACHfive, Frankfurt; Obituaries (One Person), CHARLIE SMITH london, London; 2011: 9/10/11 (One Person), KENNY SCHACHTER / ROVE, London; The Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait, Victoria House, London; Polemically Small (curated by Edward Lucie-Smith), Klaipeda Culture Communication Centre, Klaipeda; The Future Can Wait presents: Polemically Small, Torrance Art Museum, Torrance; 2010: Press Art, Museum der Moderne, Salzburg; 2008: New London School (curated by Zavier Ellis & Simon Rumley), Mark Moore Gallery, Los Angeles; 2006: New London Kicks , Wooster Projects, New York; 2005: Fuckin’ Brilliant, Tokyo Wonder Site, Tokyo; Art News, Raid Projects, Los Angeles; 2004: Forest, Rockwell Gallery, London; 2003: Chockafukingblocked, Jeffery Charles Gallery, London; 2002: Yesteryearnowadays, Hales Gallery, London
Collections: Jerry Hall, London; Peter Nobel, Zurich; Kenny Schachter, London; Steve Shane, New York; Bill Wyman, London; Wooster Projects, New York; private collections in China, Germany, United Kingdom & United States

Gavin Nolan
Born: 1977
Education: 1999 – 2002: MA in Fine Art, Royal Academy Schools; 1996 – 1999: BA (Hons) in Fine Art, Loughborough University School of Art
Selected Exhibitions: 2012: The Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson), B1, Victoria House, London; The Id, the Ego and the Superego (curated by Zavier Ellis & Marcela Munteanu), BRAUBACHfive, Frankfurt; 2011: The Saatchi Gallery & Channel 4’s New Sensations and The Future Can Wait, Victoria House, London; Polemically Small (curated by Edward Lucie-Smith), Klaipeda Culture Communication Centre, Klaipeda; The Future Can Wait presents: Polemically Small, Torrance Art Museum, Torrance; 2010: The Reflected Gaze, Torrance Art Museum, Torrance; 2009: The Future Can Wait (curated by Zavier Ellis & Simon Rumley), Old Truman Brewery, London; Hexen Reflex (one person), Mark Moore Gallery, Los Angeles; 2008: The Past is History (curated by Zavier Ellis & Simon Rumley), Changing Role Gallery, Naples & Rome; New London School (curated by Zavier Ellis & Simon Rumley), Mark Moore Gallery, Los Angeles; 2006: Icons, Chungking Projects, Los Angeles; Unnatural Selection (one person), Sartorial Contemporary Art, London; 2005: Maji Jabii!! Fucking Brilliant!!, Tokyo Wondersite, Tokyo; New London Kicks, Wooster Projects, New York; The Sun Also Rises, Rockwell, London; 2004: Born, Cry, Eat, Shit, Fuck, Die, Rockwell, London
Collections: Marc Coucke, Ghent; Jean Pigozzi, Geneva; David Roberts, London; Thomas Rusche, Münster; Dr Rainer Schiweck, Munich; Howard Tullman, Chicago; private collections in Germany, Italy, United Kingdom & United States

www.charliesmithlondon.com
www.thefuturecanwait.com



Jennifer Allen
Emma Bennett
Sam Jackson
Sarah McGinity
Alex Gene Morrison
Gavin Nolan
Dominic Shepherd
John Stark



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