Chris Thompson Greater London, United Kingdom
Im an artist and curator.
I’m interested in an art mode that offers a means to unpick the cultural and visual systems that enable and empower it- the self-reflective object.
I have a recurring interest in drama, illusion and absurdism. The self-conscious artificiality of these arenas, in tandem to their relationship to power offers a useful route to investigate the inherency, agency and emotional potential of objects, images and signs within cultural cycles and human behaviours. Overblown, clunky and heavy-handed material and aesthetic decisions tend to lend my work a Brechtian sense of detachment for the viewer, and often they seek to emotionally implicate through the act of looking, hopefully offering a means of recalibration for the audience.
Artwork
Proposal for a doggo, Collage, 2018
Untitled (Piss), Jesmonite, 2018
Untitled (Friends), Jesmonite, 2017
Untitled Doggo (Dry Rot), Latex, Expanding Foam, 2017
Fort, Acrylic, Hessian, Expanding Foam, 2016
Spread, Acrylic, Hessian, Expanding Foam, 2016
Projects and exhibitions
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Fatal Attraction03/08/2018 — 26/08/2018 MATT AGER | BETH COLLAR | SESSA ENGLUND | MILLY PECK | CHRIS THOMPSON | ELLIE BARRETT | BILLY CROSBY | DOIREANN NI GHRIOGHAIR | MICHAEL PYBUS | FELIX TREADWELL It’s 10,000 BC. Hunter-Gatherers on the European Ice are carving dolls out of stone, cold and one lost meal away from starvation; flash forward to the 1980s and we’re making... [Read more] |
Thames Side Studios Gallery, London | Details |
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Changelings27/06/2017 — 29/06/2017 VICTORIA ADAM | ELLIE BARRETT | BILLY CROSBY | SESSA ENGLUND | STUART MIDDLETON | CHRIS THOMPSON In European folklore, a Changeling is a fairy child, left by its otherworldly progenitors to mimic the human child they had stolen, exploiting the parents for one reason or another. In Star Trek, the Changeling is a curmudgeonly Constable... [Read more] |
Flying Dutchman, London | Details |
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Show Home14/10/2016 — 16/10/2016 PHILIP BOOTH | VASSILIS CHRISTOFI | HAMISH PEARCH | CHRIS THOMPSON | HANNA UMIN Safehouse as a building is both physically stripped, and emotionally loaded. In this once domestic Victorian era dwelling, architectural remnants gesture towards the space’s historical usage and to the now fractured narratives of the lives lived inside. The... [Read more] |
Safehouse 1, London | Details |