LITTLEWHITEHEAD
CRAIG LITTLE (B. 1980 GLASGOW, SCOTLAND)
BLAKE WHITEHEAD (B.1985 LANARK, SCOTLAND)

-> ARTIST STATMENT
-> CV
-> ANEXED FUTURE 2019
-> ÜBERMENSCH 2017

 



CHROMIUM LATCHES, 2020, PRINTED POLYESTER, ALUMINIUM, G9 LED LAMP, 56 X 24 X 59 CM




ENDLESS ALMANAC, 2020, PRINTED POLYESTER, ALUMINIUM, G9 LED LAMP, 56 X 24 X 59 CM




DESPAIRING CHORUS, 2020, PRINTED POLYESTER, ALUMINIUM, G9 LED LAMP, 56 X 24 X 59 CM




LIKE SEVERED HANDS, 2019, GLAZED PORCELAIN, BRASS, SUGAR 
53 X 21,5 X 138 CM







BLURRED AND PALE, 2019, PRINTED COTTON HOPSACK, LEATHER, METAL, 58 X 31 X 37 CM




TILL LIGHT DRIVES NIGHT BACK, 2019, PRINTED COTTON, ALUMINIUM, G9 LED LAMP, 56 X 24 X 59 CM





ANNEXED FUTURE - INSTALLATION VIEW - NIR ALTMAN - JUNE 2019



MERGE VISIBLE, 2017, PORCELAIN, STAINLESS STEEL, MILD STEEL, SPRAY PAINT, 126 X 62 X 51 CM




ALL GOING DOWNWARDS THE SAME AS I WAS
EXHIBITION VIEW - COPPERFIELD GALLERY, LONDON - JULY 2018





BLOOM, 2018, DRAWERS (BIRCH PLYWOOD, LINSEED OIL, FORMICA, CONTACT CEMENT, WOOD GLUE, BRUSHED ALUMINIUM) TEE SHIRT (PORCELAIN) CUBE (D R HARRUS AFTERSHAVE MILK, GOSHA RUBCHINSKIY EAU DE TOILETTE, TOM FORD BLACK ORCHID, BYREDO MOJAVE GHOST, COMME DE GARCON AMAZING GREEN, VERSACE EROS, AQUA, PORK GELATINE, SORBITOL, GLYCERINE), 116 X 77 X 34 CM 







FALLING UPRIGHT III, 2018, MILD STEEL, PORCELAIN, CLEAR GLAZE, GOLD LUSTRE, SPRAY PAINT, MATTE LACQUER, 72 X 63 X 46 CM




WHEN WILL IT END?, 2017, PERSIAN RUG, STAINLESS STEEL, MILD STEEL, 397 X 291 X 63 CM 






HE’S A LIQUID, 2018, ARMANI ARÉS-RASAGE, CERRUTI 1881, CALVIN KLEIN, CONTRADICTION, PACO RABANE POUR HOMME, DAVIDOFF COOL WATER, GANT CLASSIC, CRISTOBAL BALENZIAGA POUR HOMME,DOLCE & GABBANA MASCULINE, BOSS HUGO BOSS, DIOR FAHRENHEIT, TERRE D’ HERMES, YVES SAINT LAURENT KOUROS, COMME DES GRACONS BLACK, AQUA, 25 x 25 x 25 CM




TIME SIGNALS, 2017, MERANTI, MILD STEEL, KEYS, 73 X 40 X 88,5 CM




littlewhitehead make installations composed of handmade work. They begin by creating versions of things that already exist, though this is never replication, but rather the process of taking a borrowed form to the point where it becomes derelict or devoid of function. By making various subverted objects simultaneously, they look to find connections between things that enable them to recombine the recognisable in unexpected and more meaningful ways. These sculpture are the palette from which they compose spaces: multi-layered landscapes that hint at ambiguous moments beyond technology.
Mark