Like many working in the loosely-termed Pop Art field, Emmett Elvin toiled for years in the commercial art world of animation, newspaper strips and book illustration. Long before these necessary distractions intruded he could be found smearing pigment onto walls, canvases and the occasional friend. Unlike some Pop artists, his paintings don't seek simply to glorify pop culture but rather use its iconography as a blunt instrument to deconstruct and poke the soft underbelly of cows both sacred and profane. To this end, Frankenstein is more likely to share a painting's visual space with Charles Darwin or Theodor Adorno than he is with Dracula or Donald Duck.
These pictures are explorations of just how deep the rubbish-hole goes - often resulting in unsettling questions: are we now simply staring at the train wreck of a derailed culture? Can we use art to gain a better understanding of the forces that got us here? Quite possibly not - but Emmett Elvin is foolish enough to try anyway.
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