We are delighted and proud to present our forthcoming exhibition PINCHED: a solo show of new works by contemporary conceptual artist Nick Smith.
This new exhibition containing over 20 new original works as well as new limited editions, examines famous artworks stolen throughout history, presenting the reconstructed images along with their idiosyncratic stories.
The show will open with the private view on May, 2nd. The exhibition will run thereafter until 1st June.
If you would like to attend the Private view and drinks reception on the evening of Thursday 2nd May between 6 - 8pm please RSVP to firstname.lastname@example.org
You can view the sales catalogue HERE
Smith often uses satire threads in economics, society and pop culture to curate his exhibitions, as previously seen in Priceless, in which he looked at the precariousness of the art market. PINCHED is a continuum of this body of work - his research on art markets leading him to the more abstract area of art theft. Smith is interested in what happens to ideas of value once an artwork has been stolen, as it is almost impossible for this to translate into monetary value.
The theft of the Mona Lisa in the early 1900s from the Louvre is commonly regarded as the first great art heist of the 20th century. This incident saw the dramatic elevation of the artwork in the popular consciousness, creating the phenomena that surrounds it today. Since then there has been a wealth of stories behind such heists as galleries and private collections. PINCHED examines these often surprising, always colourful heists and explores the absence of these works within art history and cultural identity.
The exhibition consists of 20 new works by the artist, with re-workings of infamous, instantly recognisable stolen artworks to some lesser known works by the heavy hitters of art history; including Vermeer’s The Concert (Isabella Stewart Gardner Museum) and Munch’s The Scream (Munch Museum).
Extensive research went into the series, drawing on information collected from media archives, crime reports, CCTV, police statements and the most wanted list of the twentieth century’s biggest art heists.
Using his trademark colour chips, the artist has created specter-like chromatic blurs of images that have remained potent forces despite no longer being available for public consumption. In addition to his unique visual language of colour swatches, Smith presents a confident and playful collection of mixed medium artworks and screen prints highlighting the absurdity and intrigue left in the wake of these heists. The exhibition looks at the void left by these stolen works and how this manifests within public consciousness and cultural history, the material existence of these artworks was only one, and not strictly the crucial, element of meaning.