Anthea Hamilton / Thomas Kratz

Mary Mary is proud to present an exhibition by London based artist, Anthea Hamilton in collaboration with Thomas Kratz. Hamilton and Kratz will produce a selection of new work made both individually as well as in collaboration with and in response to one another.

The starting point for the exhibition can be seen as a series of erotic Polaroid photographs by the Italian designer Carlo Mollino in the early 1960’s, which depict prostitutes, staged with his designed objects. Highly stylized, these private images, illustrate simultaneous adornment and deification of woman and the object: a posed and highly structured version of gender roles and desire. Mollino’s project, of cultivating the perfect life via design, continues the endeavors of Huysmans’ ‘Des Esseintes’, of whom he was a great admirer.

The basis of the collaboration comes from Hamilton seeing one of these Polaroid’s in Kratz’s studio whilst he was working on a painting. The painting’s sexual imagery causes a reaction in the viewer that is reflex rather than learnt something non-verbal. The power of image over content pushes open a space that allows Kratz to explore the qualities of surface and production personal to his image making needs.

This painting is now part of the show as an element in one of Hamilton’s three-dimensional compositions. ‘Collaboration’ in this instance ranges from Kratz contemplating the idea of the invitation to exhibit to the artist’s joint execution of an artwork.

At the centre of Hamilton’s practice lies a self-performative process, with the work illustrating elements of this modestly through a particular curve, colour, texture or found object. Imagery is often repeated amidst particular, strong formal aspects allowing an element of control over facets of purely aesthetic solutions and a will to convey a non-visual set of values.

“The cross-section of a leg is the most recognizable element in Hamilton’s eclectic use of materials. It is modeled on her own leg, so that her identity is literally absorbed into the exhibition. In this way, the different versions of the artist, the ‘body doubles’, can act out her unfulfilled ideas and fantasies.” Characteristics of Modernism, Pop and Surrealism are acknowledged and re-worked through, for example, a colour scheme or shape.

Often creating environments in which to stage her work (the film set, the convent, the hammam, to name a few), Hamilton reflects upon the notion of a gendered or sensualised space. For the show at Mary Mary, Kratz’s position as artist, as well as his work, acts as a backdrop or symbol to test and calibrate Hamilton’s sensibilities.

Born in 1978, Hamilton lives and works in London. Recent exhibitions include a solo show, ‘Cut Outs,’ Galerie Fons Welters, Amsterdam; Art Statements, Art Basel 38 with IBID Projects; group shows at Galleri Christina Wilson, Copenhagen & Perry Rubenstein Gallery, New York (all 2007). Forthcoming projects include a solo show at Chisenhale Gallery, London in 2008. Anthea Hamilton is represented by IBID Projects, London.

Thomas Kratz, born in 1972, also lives and works in London. Recent exhibitions include a solo show at Center, Berlin & Kunstraum Muenchen, Munich and group shows which include ‘The Breakfast Club,’ Haunch of Venison, London and ‘True Romance,’ The Breeder, Athens (all 2007).

Anthea Hamilton in collaboration with Thomas Kratz