“My work evokes thoughts how things are connected in life”.
The mix of materials, the use of loud and wide variety of colours, creates
an energetic excitement and a visual overload. The crazy hectic world
is connected to everything in the paintings. This reality-poetry and
philosophizing is a fast automatic translation from dreams and thoughts
to action and happenings, with an overtone of the unstoppable and unpredictable
strength of nature and our drives.
“I am interested in the patterns and consequences of behavior, those
moments when our guard is down and we are vulnerable to criticism and
exposure. The lack of interaction and singularity of the figures in my
work is significant as it suggests a sense of dislocation, of an inability
to be accepted. These are alienated white collar workers thrust into stressful
and potentially hopeless situations, environments where the situations
are hazardous, where the outside world serves firstly as a back-drop to
feats of outstanding endeavour and secondly threatens to engulf the protagonists.
The characters are malcontents, unable to vocalize their emotions they
become isolated but share their unpleasant experiences with their colleagues”.
In his paintings, James Jessop remixes horror trash and eerie kitsch:
creepy skeleton and cute girl’s faces, spooky forest ponds, black
cats and blood dripping letters are well-know clichés of the macabre.
Jessop adds them up in an original and personal manner.
The paintings are drive-in movie sized thrills. With his street smart
graphics that celebrate zombie flicks, glory comics and cheeky sense of
Scooby Doo mystery.
Like billboards, emblems of entrancing goth-pop, a panorama where things
that go bump in the night come to life. Wickedly funny and eerily plausible
Jessop serves up an advertisement for the nightmare of choice. Enter if
“I paint because otherwise I become depressed from watching too
much TV. Although people think painting requires lots of ideas and preparatory
studies, I find that it is best to approach it in a mood of empty desperation.
Doing it, I listen to CDs made from music I have downloaded from the internet.
Christina Aguilera’s upbeat sexy songs are very good for focusing
the mind on painting good paintings.
When I talk to students, art lecturers or friends about painting, I have
to conceal my fundamental belief in the activity, rather like some religious
freak who doesn’t feel like justifying himself for the millionth
time to a bunch of atheists: I conceal my certainty that painting is the
best thing in the world”.
Peter Lamb’s paintings are littered with remnants from the past,
physical objects from a bygone age that act as a glue adhering past and
present, in some cases the canvas is literally held to the frame by frayed
nylon cord as if some ageing eccentric has carried out a sad but endearing
patch up job in a desperate attempt to preserve the past. The balding
and moth eaten trophies, now a metaphor for “a once Great Britton”
or a Britton that could no longer sustain a society rife with social injustice,
financial inequality, and class prejudice. The random and chaotic nature
of theses works, suggests an over turning of the established order not
only socially and politically, but also creatively, they are tangible
physical reminders of a past, a past that can be revaluated, misinterpreted,
altered, distorted and even denied.
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