Through the repetition of visual and verbal iconography, often sourced from alternative means of communication such as braille or sign, Elliot is able to undermine our preconceptions of language. Conventional linguistic structures are supplanted by a unique and personal narrative of imagery, a substitute dialect which serves as the vehicle for Elliot’s continued artistic endeavours.
In this latest body of work, Elliot introduces the natural by means of floral depictions, a reference to his rural upbringing in the Cornish countryside as well as an organic antithesis to the industrial influence evident in his work. Man’s relationship to nature, industry and technology converge in Idol Hands through the wider investigation of Britain’s recent history and the subcultures that have stemmed from post-industrialism. Suggestions to dance and rave culture flow from Elliot’s use of colour and reflection, as well as the exhibition’s custom lighting effects and accompanying soundscape.
The industrial underpinning of the works is further implied by the aforementioned use of repetition, visual evidence of their means of production that utilises processes imitative of mass manufacturing, such as printing, welding and metalwork.
Finally, Idol Hands presents as an immersive and interactive installation, entertaining us visually, aurally and haptically. This multi-sensory experience aims to heighten ones emotional response to, and physical connection with, Elliot’s artworks, and acts as an antidote to our ever-increasing exposure to the virtual. The audience’s presence and prescribed participation ultimately activate the exhibition.
The exhibition coincides with the release of Elliot’s latest publication, Idol Hands, published by Foolscap Editions. The limited-edition publication features an essay by Charlie Mills, and is designed by George Hatton.