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  • Provenance

    White Cube, London

  • Catalogue Essay

    When our sculptures work they achieve the position of reducing the viewer to a state of absolute moral panic…they are completely troublesome objects. (Jake and Dinos Chapman taken from D. Fogie, Chapmanworld, Institute of Contemporary Arts, London, 1996, n.p.)  
    The most intriguing artworks are generally described as those which manage the perfect coincidence of visual form with expressive intent. The Chapmans have defied this ideal of straightforward symbolic representation and instead unfold content into an unsettling visual form…the shifting balance between captivating form and complex iconographic resisting facile reading that distinguishes their art. In formal terms, their creative arsenal revolves around the resurrection of discredited techniques of representation that include polychrome figurative sculpture, a faithful realism bordering on the obsessive, the miniature tableau and various forms of the grotesque, frequently imposed into skillful emulations of children’s art. Visual appearance has taken a similarly regressive shape as their subject matter, Jake Chapman confirming that their work “parasitically or vampirically, depends upon all the forms of art production which should under the conditions of progressive modernity and liberal humanism, have been buried, being Luddite or non-theological. So our excavation of these zombified art technique visits the healthy, vital, modernist body with all the diseases which give it its momentum. (C. Grueneberg, Jake and Dinos Chapman Bad Art for Bad People, London, 2006, p. 12) 



Painted bronze.
69 x 14 x 13 cm. (27 1/8 x 5 1/2 x 5 1/4 in).
Inscribed with the title "CFC.77393898" on the reverse of the left leg. This work is from an edition of three plus three artist's proofs.

£40,000 - 60,000 

Sold for £49,250

Contemporary Art Evening Sale

18 Oct 2008, 7pm