Fingers emerging out of clouds set on a blue background with pink spots. Unmistakably a piece by Object… but what is different about this is the gentleness of it and the pink spots are something I’ve not seen him use before.
I love the passion and often rage in Object…’s pieces but every once in a while it is great to see something that is perhaps more subtle. I’m not too sure what the story is here, or why one of the fingers appears to be pushing the crown down, but there is a story. Also I rather like the broken nail by way of observation. This bit of wall is a devil to photograph, but thankfully I was there on an overcast day and so the shadows were not too much of a problem. Nice piece.
Well, I’m not too sure where to start with this one from Object… really. The piece features a fairly grotesque headless, winged, multiple-armed torso with a speech bubble containing a well-used phrase ‘eat the rich‘. The phrase itself is attributed to Jean-Jaques Rousseau and alludes to the suggestion that when the people have nothing more to eat, they shall eat the rich.
As political as ever, Object… is tireless in his championing of the underclass, the unrepresented and the unfortunate. His work always comes across as very passionate, and often pained by the injustices of the world…visceral is perhaps the word I am looking for. I realise his work might shock or leave you cold, but I am actually a fan of this thoroughly decent man and artist.
With his style so unlike anything else in Bristol, it is easy to pick out Object…’s work wherever he places it. This piece in St Werburghs tunnel features a distorted humanoid monster – a thing of nightmares – doing something, although I’m not too sure what. As with all his work Object… has a real sense of physiology and plays with proportions and muscles and limbs – the art of the possible.
Themes in his work often reflect the unfairness in our society and he tirelessly represents the rage felt by many at injustice. He is probably the most politically motivated in Bristol and his agonising plays out in his work. Tortured, compassionate, angry and sad, his work carries with it huge emotional investment. All good.
The conscience of our city is given a voice or at least a ‘visual voice’ via the prolific and passionate work of activist Object… . Without doubt, Object…’s work is moving, angry and political in equal measure and his ‘tortured’ figures represent pain and suffering of others.
In this piece the figures are in conversation with one or both saying ‘or you could handle it with some compassion‘. I’m not too sure to what this refers, but I think the message could be read on several levels, from the personal to local to national or even global level. We are living through hard times and compassion is taking a real beating. I’m sure these lurches to the right will come to an end, but for the time being we must endure them and push back wherever possible.
We had a wet day in Bristol a couple of weeks back, and it looks like Object…took refuge in the tunnels of The Bearpit, and painted several of the boards there in a single session, featuring monsters and explosions.
This piece is typical of the artist with a strong undertone of politics and representation of the disadvantaged and tortured body parts of animals and people. I continue to enjoy his pieces which always seem to portray outrage and pain.
I love the recent spate of wheatpastes from Object… and I think I might actually prefer them to his larger painted pieces, but both are great n my opinion. There is often something disturbing and emotional in Object…’s work with his political passion never too far from the surface.
Outspoken and earnest, Object…’s pieces certainly challenge the viewer to see the world through the eyes of the less fortunate. This piece, while not necessarily falling into that category, certainly carries with it a disturbing nightmarish quality. I happen to love this piece, it is just a shame about the tag across the bottom of it. I hope to find more of these paste ups around the city.