From the moment of conception the search was on to find an appropriate setting for this as a one image exhibition. The solution was found at the secular and de-consecrated chapel once part of the Middlesex Hospital in central London. I am hugely grateful to Fitzrovia Chapel for embracing myself and the work and offering us a home.
Once installed, a synergy and meaning transcended our hopes for it and any simplistic provocation or bombast was eclipsed by an aesthetic balance and acceptance by the space that demands a right to the sacred. We feel that this collaboration pushes at the glass ceiling of equality in a way myself and curators could not have imagined.
The work balances centuries of art history and religious symbolism with a high- camp photographic parody and is a vulgar appropriation for the 21st Century that challenges the archaic boundaries of the heteronormative state that oppresses everyone.
BIRTH – a portrait of Grayson Perry. 1.3 m Light box installation on the alter of Fitzrovia Chapel, London
From the moment of conception the search was on to find an appropriate setting for this as a one image exhibition. The solution was found at the secular and de-consecrated chapel once part of the Middlesex Hospital in central London. I am hugely grateful to Fitzrovia Chapel for embracing myself and the work and offering us a home.
Once installed, a synergy and meaning transcended our hopes for it and any simplistic provocation or bombast was eclipsed by an aesthetic balance and acceptance by the space that demands a right to the sacred. We feel that this collaboration pushes at the glass ceiling of equality in a way myself and curators could not have imagined.
The work balances centuries of art history and religious symbolism with a high- camp photographic parody and is a vulgar appropriation for the 21st Century that challenges the archaic boundaries of the heteronormative state that oppresses everyone.
Test install at Fitzrovia Chapel © Fitzrovia Chapel
From the moment of conception the search was on to find an appropriate setting for this as a one image exhibition. The solution was found at the secular and de-consecrated chapel once part of the Middlesex Hospital in central London. I am hugely grateful to Fitzrovia Chapel for embracing myself and the work and offering us a home.
Once installed, a synergy and meaning transcended our hopes for it and any simplistic provocation or bombast was eclipsed by an aesthetic balance and acceptance by the space that demands a right to the sacred. We feel that this collaboration pushes at the glass ceiling of equality in a way myself and curators could not have imagined.
The work balances centuries of art history and religious symbolism with a high- camp photographic parody and is a vulgar appropriation for the 21st Century that challenges the archaic boundaries of the heteronormative state that oppresses everyone.
Preliminary sketch for mounting onto the chapel alter by Simon Sawyer © Simon Sawyer 2018
From the moment of conception the search was on to find an appropriate setting for this as a one image exhibition. The solution was found at the secular and de-consecrated chapel once part of the Middlesex Hospital in central London. I am hugely grateful to Fitzrovia Chapel for embracing myself and the work and offering us a home.
Once installed, a synergy and meaning transcended our hopes for it and any simplistic provocation or bombast was eclipsed by an aesthetic balance and acceptance by the space that demands a right to the sacred. We feel that this collaboration pushes at the glass ceiling of equality in a way myself and curators could not have imagined.
The work balances centuries of art history and religious symbolism with a high- camp photographic parody and is a vulgar appropriation for the 21st Century that challenges the archaic boundaries of the heteronormative state that oppresses everyone.
Install with Simon Sawyer © Kate Thorogood/Fitzrovia Chapel
From the moment of conception the search was on to find an appropriate setting for this as a one image exhibition. The solution was found at the secular and de-consecrated chapel once part of the Middlesex Hospital in central London. I am hugely grateful to Fitzrovia Chapel for embracing myself and the work and offering us a home.
Once installed, a synergy and meaning transcended our hopes for it and any simplistic provocation or bombast was eclipsed by an aesthetic balance and acceptance by the space that demands a right to the sacred. We feel that this collaboration pushes at the glass ceiling of equality in a way myself and curators could not have imagined.
The work balances centuries of art history and religious symbolism with a high- camp photographic parody and is a vulgar appropriation for the 21st Century that challenges the archaic boundaries of the heteronormative state that oppresses everyone.
Unveiling at Fitzrovia Chapel with Artistic Director Faye Hughes and Mr Grayson Perry © Natalie Martinez
From the moment of conception the search was on to find an appropriate setting for this as a one image exhibition. The solution was found at the secular and de-consecrated chapel once part of the Middlesex Hospital in central London. I am hugely grateful to Fitzrovia Chapel for embracing myself and the work and offering us a home.
Once installed, a synergy and meaning transcended our hopes for it and any simplistic provocation or bombast was eclipsed by an aesthetic balance and acceptance by the space that demands a right to the sacred. We feel that this collaboration pushes at the glass ceiling of equality in a way myself and curators could not have imagined.
The work balances centuries of art history and religious symbolism with a high- camp photographic parody and is a vulgar appropriation for the 21st Century that challenges the archaic boundaries of the heteronormative state that oppresses everyone.
