162 Walton Street Knightsbridge London SW3 2JL England e: sales@andipa.com t: +44 (0)20 7589 2371 www.andipa.com
Critical Analysis Merging Eras and Ideas: The Art of J. G. Fox In the turbulent seas of contemporary art, J. G. Fox’s work emerges as an island of intrigue, standing resilient against the monotonous tides. At first glance, the artwork captivates with its foundational homage to Victorian architectural prints – an era characterised by detailed ornamentation, patterned intricacy, and an air of romantic nostalgia. However, dwelling longer within the realms of each piece allows one to navigate through the labyrinth of witty additions, political undertones, and the rich tapestry of art historical references interwoven with contemporary societal observations. Fox’s brilliance lies in his ability to bridge epochs; he transports the viewer through time, enabling conversations between the Victorian ethos and the modern-day narratives. The Victorian elements in the artwork act as a structured stage where the drama of modern commentary unfolds. Within the formal elegance and architectural rigidity, Fox introduces elements that dance with a mischievous lightness, embodying humour and satire that gently poke at the established norms, political structures, and the art world itself. The subtlety of the inserted witticisms and references requires an engaged viewing. One finds oneself playing detective, decoding the layered messages and appreciating the nuanced dialogues established within the compositions. These witty additions serve as a conduit, connecting the artwork to broader discussions that extend beyond the canvas into realms of societal commentary and critical discourse. In his creative process, Fox invites a multitude of characters and icons from art history to participate in his narrative constructs. These references are not mere aesthetic adornments but are critical participants that facilitate a deeper exploration of artistic evolution, influence, and the continuous dialogue across times and styles. Examining Fox’s works, one appreciates the deftness and consideration with which each piece is curated. The convergence of style and substance is balanced, ensuring that the artwork resonates with both visual appeal and intellectual stimulation. Each composition is an invitation to delve into a multidimensional universe, encouraging viewers to negotiate the pathways of history, art, and contemporary discourse. J. G. Fox’s artistry flourishes in its sophisticated interplay of historical elegance and modern provocations. His works are potent vessels carrying narratives enriched with the diversity of thought, encouraging a delightful yet profound engagement with the multitude of layers unveiled within the tapestry of his creations.
Timothy Warrington International Confederation of Art Critics
The Artist From afar, it appears we are looking at antique artworks. 18th century prints. Hand-finished architectural drawings. Decorative woven tapestries. But upon closer inspection, you find something subversive within the scene. A Chaos among the order that the medium insists upon. This is the work of award-winning British artist, J. G. Fox In just the last year, Fox has been shortlisted for ten art prizes in London, receiving awards and commendations at the Hari Art Prize, the Archisource Drawing of the Year competition, and The London Art Biennale. Fox’s quick rise to popularity could be attributed to the fact that his work appeals to many different sensibilities. Beautiful enough to speak to traditionalists; accomplished enough to win critical acclaim. Engaging enough to be appreciated immediately; deep enough to be discussed and analysed in intellectual circles. This mixture of decorative beauty, intellectual depth, and critical acclaim is rare – and very promising – in an emerging artist. We hope you will share in our excitement.
Elevation of an Art Museum (Ransacked) Print on paper, hand finished with watercolour 80cm x 60cm - Edition of 50 150cm x 100cm - Edition of 25
From the Artist:
“
For me, this piece most typifies my work in general.
It has within it elements from all my other works; architectural drawing; order contrasted against chaos; paintings within paintings; angry mobs; destruction; fire; grand classical buildings; and socio-political commentary. The piece was informed by the recent trend of political Iconoclasm in the West. I feel there is a good artistic contrast within the structural style of the image itself. An architectural drawing is ordered, structured, a plan. The chaos going on within this drawing contrasts it ironically. The pieces being vandalised are all recognisable greats of the Western canon. I would hope that as one looks at it, one wonders what motivation the mob might have for destroying these particular artworks, and whether that reason is good enough.
”
Elevation of an Art Museum (Ransacked) Print on paper, hand finished with watercolour
(above) Key for ‘Elevation of an Art Museum (Ransacked)’, with important artworks highlighted, decoded on the opposite page
Various pieces, Mark Rothko
Assorted vases, Grayson Perry
Statue of Eve, Auguste Rodin
Various pieces, Patrick Caulfield
Damien Hirst’s shark in formaldehyde
Various pieces, Henri Rousseau
Francis Bacon’s Pope Innocent X
Three Studies for a Crucifixion, Francis Bacon
A Damien Hirst Spot Painting
Skull, Andy Warhol
Guernica (shown on fire), Pablo Picasso
Old Flo, Henry Moore
The Kiss, Auguste Rodin
Two portraits by Egon Schiele
The Kiss, Gustav Klimt
Fauvist Pieces by Henri Matisse & André Derain
Inhumations From the Artist:
“
Here follows a series of three artworks based on selections from a series of 18th century prints by Carlo Labruzzi, which were commissioned by Sir Richard Colt Hoare, and then eventually acquired by collector Thomas Ashby. I found the prints for sale in an antique book shop in London, took them home, scanned them, and then redrew them with my own additions. The originals showed early archaeological dig sites and ruins which Labruzzi and Hoare came across during their travels of the Appian Way. Archaeology was young at this time, and the idea of lost masterpieces being uncovered was very exciting. Equally interesting was the very idea that they were ever covered up at all. In my versions I show not artworks being taken out of the ground, but the inversion; pieces being buried. I include an assortment of contemporary works, a who’s-who of recent masterpieces, and depict them being carelessly covered up, for reasons the viewer is left to imagine. Today, there seems less pleasure among the public in finding the treasures of art, and more focus on covering up that which does not delight.
”
Inhumation No.1 Copperplate Print on Etching Paper 80cm x 60cm - Edition of 50
Altered from an original “Excavation of ancient Sepulchres made in the same Vineyard in A.D. 1788 with the Inscriptions there extant” by Carlo Labruzzi, circa 1794
Inhumation No.1 Various contemporary artworks are buried in an iconoclastic purge
Inhumation No.1 (detail) A figure tends to a bonfire
(above) Key for Inhumation No.1, with important artworks highlighted, decoded on the right
Inhumation No.1 (detail) Artworks are dumped unceremoniously into a pit
Inhumation No.1 (detail) An excavator, and bodies hanging from a scaffold in the background
The Policeman’s Daughter Paula Rego
Everything for Love Tracey Emin
Flowers, flowers, flowers Takashi Murakami
Pumpkin Yayoi Kusama
Double Headed Barking Dog Keith Harring
Ahmed the Tailor George Condo
Single panel from Three Studies of Lucian Freud Francis Bacon
Famine Jake and Dinos Chapman
Parallel Lives George Condo
Untitled (1981) Jean-Michel Basquiat
Woman Taking Off Man’s Shirt 5 Julian Opie
Nude in a Convex Mirror John Currin
Benefits Supervisor Sleeping Lucian Freud
Inhumation No.2 Copperplate Print on Etching Paper 80cm x 60cm - Edition of 50
Altered from an original “Excavation of ancient Sepulchres made in the same Vineyard at the commencement of the Year 1791, with the various inscriptions found in them” by Carlo Labruzzi, circa 1794
Inhumation No.2 The burial of a range of works from the contemporary canon of art
The Bride Stripped Bare by Her Bachelors, Even Marcel Duchamp
The Green Stripe Henri Matisse
The Kiss Gustav Klimt
Self-Portrait with Hummingbird and Thorn Necklace Frida Kahlo
Lobster Jeff Koons
Grey Lines with Black, Blue and Yellow Georgia O’Keeffe
The Sleeping Gypsy Henri Rousseau
Versus Medici Jean-Michel Basquiat
Mother and Child Henry Moore
M-Maybe (A Girl’s Picture) Roy Lichtenstein
Woman IV Willem de Kooning
One and Three Chairs Joseph Kosuth
Sigle piece from Mother and Child (Divided) Damien Hirst
Han Jar Overpainted with Coca-Cola Logo Ai Weiwei
Object (The Luncheon in Fur) Méret Oppenheim
Single piece from Disasters of War IV Jake and Dinos Chapman
Untitled ( Your body is a battleground) Barbara Kruger
Figure with Meat Francis Bacon
Flower Thrower Banksy
Inhumation No.3 Copperplate Print on Etching Paper 80cm x 60cm - Edition of 50
Altered from an original “Inside wiev [sic] of an antique Building annexed to the Walls of Rome in the Vigna Casali, in which various Sepulchral Urns, Inscriptions &c found in the said Vineyard were placed as here represented at the commencement of the year 1791” by Carlo Labruzzi, circa 1794
Inhumation No.3 Buried artworks about to be rediscovered. A shadow is cast on the back wall of a man about to enter the room
Inhumation No.3 (detail) A Damien Hirst sheep in formaldehyde. I included a similar piece in Inhumation No.2, as they are instantly recognisable, and so ironically incongruous in such a setting
(above) Key for Inhumation No.3, with important artworks highlighted, decoded on the right
Inhumation No.3 (detail) The inclusion of this Francis Bacon Pope Innocent X is a focal point of the piece. The dark, weird, horrific feel of the painting fit the theme and surroundings
Inhumation No.3 (detail) A Marilyn Munroe by Warhol peeks out behind the pile of discarded ceramics, some of which have been altered to resemble the works of Grayson Perry
Marilyn Monroe Andy Warhol
Keep it Real Banksy
Various imagined composite works in the style of Grayson Perry
Untitled Invader
For the Love of God Damien Hirst
Fountain Marcel Duchamp
Portrait of an Artist (Pool with Two Figures) David Hockney
Balloon Dog Jeff Koons
Guernica Pablo Picasso
Balloon Girl Banksy
Study after Velázquez’s Portrait of Pope Innocent X Francis Bacon
Away from the Flock Damien Hirst
Printing Process
Step 1 An etched copperplate is covered with ink
Step 2 Excess ink is buffed off of the plate
Step 3 The plate is cleaned
Step 4 Paper is dampened in water
Step 5 The plate and paper are put through the press
Step 6 The image is printed onto the paper
A Woman Brought All the Luxuries of the Modern World Woven Tapestry 180cm x 140cm approx. - Edition of 8
A pastiche of popular tapestries based on the work ‘Garland of Fruit surrounding a Depiction of Cybele Receiving Gifts from Personifications of the Four Seasons’ by Jan Brueghel the Elder, between 1615 and 1618 From the Artist:
“
This piece is a pastiche of a cheap Chinese tapestry I bought. The original inspiration of the design is the early 17th century painting ‘Garland of Fruit surrounding a Depiction of Cybele Receiving Gifts from Personifications of the Four Seasons’ by Jan Brueghel the Elder, but I believe the iteration of the design I purchased is closer to a copy of a Gobelins tapestry from the early 1900s. Either way, designs similar to this are all over the place in the knock-off antiques market; this scene is a ubiquitous sight in cheap made-in-China tapestry stores, so I thought it was fitting to use it as the basis for an artwork about consumerism. Jan Brueghel’s original painting depicts the Mother Goddess Cybele being offered up all the plentiful bounties of the world which she created. She sits in the centre as dutiful doting servants bring her everything wonderful that the four corners of the world produce. The natural contemporary twist is to depict this scene happening in the modern world. In my version, a woman sits in the centre taking a selfie with her phone, while she is offered up diamonds, music, art, fashion, food, and an open laptop. I took inspiration from shots that influencers would post on Instagram depicting their luxury shopping hauls. Designer branded shopping bags litter the floor, while in the far background, factories spew out smoke, and the land looks brown and poisoned with refuse and abandoned shopping carts, and waste pipes emit what forms a polluted river.
”
A Woman Brought All the Luxuries of the Modern World The full tapestry hung
(detail 1) A woman unboxes a pair of high heeled boots
(detail 2) A man delivers a Basquiat painting (Untitled (skull) 1982)
(detail 3) A high-end shopping bag, and a box of a dozen doughnuts
A Woman Brought All the Luxuries of the Modern World Hanging at Andipa
A Woman Brought All the Luxuries of the Modern World (silk scarf) A modification of the design was made into a run of silk scarves
Other Selected Works The artist has a large body of work, all of which will also be available through Andipa Gallery. Here is a small selection of other pieces. More can be found at www.jgfox.art
A Bitcoin Mine (in the Chinoiserie Style)
Design for a Derelict House in the Palladian Style
Other Selected Works
The Sacking of the City’s Luxury Stores
The Dispersal of the Remainders of a Riot in a High-End Neighbourhood
Other Selected Works The artist has a large body of work, all of which will also be available through Andipa Gallery. Here is a small selection of other pieces. More can be found at www.jgfox.art
Square with Falling Statues
The Looting of an Important Building
Other Selected Works
Section of a Boudoir with Two Egon Schieles
The Production of Cocaine (in the Spanish Colonial Style) A Matching Pair
162 Walton Street Knightsbridge London SW3 2JL England e: sales@andipa.com t: +44 (0)20 7589 2371 www.andipa.com