GCP is delighted to exhibit James Unsworth artwork, that will be shown together for the first time in Colombia. Conceived as a installation composed by series of drawings, photographs and videos these imaginary will exhibit the Deadly ecstasy videos and the black and blue drawings series.
Unsworth manifests an interest in bodily fluids and excretions; in his drawings and videos, there is a continuity between grotesque humor and excess. A key concept of his artworks is the ability of the gaze to sexualize any kind of situation – this also has been a strong feature of advertising media in recent years. His characters are literal extensions of desire that he has taken from the terrifying impact of the triptychs of Hieronymus Bosch in which artworks he has found inspiring perspectives ranging from perverse positions to the impossibility imposed by morality, religion and law. For this reason, his imagery implies an ability to imagine the abject. The abjection plays in his compositions the role of a pervert-curator who confronts dichotomy between categories such as prohibition, obedience, and transgression.
The painful alterations and the dramatic performances that Unsworth configures may be comparable to the abject truth of sexuality depicted in Sodom and Gomorrah. By comparison, the orgiastic nature of his scenes acts as a metaphor for breaking society’s rules or going beyond normal physical contexts. characters get into a self-destructive performance. Regarding his imagery, I have found a close affinity to the work done by Paul McCarthy.
“In McCarthy’s Theatre of the Body, the human body is a metaphor for social conventions; McCarthy subjects his own self to multiple punishments, humiliations, mutilations, and transformations. In the process, he explores trauma, abuse, and impermissible acts. Social taboos are challenged through the presentation of a weirdly comedic spectacle. The work and its content have proven deeply disturbing and threatening, as they challenge values and reveal underlying sinister forces.”