“The aged world is dying and the new globe struggles to be born. Now is the time of monsters.” – Antonio Gramsci
Jeremy Olson’s hottest solo exhibition with Device London spots his common cast of otherworldly creatures at the centre of an apocalyptic globe. this time of monsters draws its title from Italian philosopher Antonio Gramsci’s reflections on interregnum. Interregnum, an historical Roman expression, signifies a period of time of long changeover involving historic phases. Olson situates his exhibition in this point out of in-betweenness, commenting on our present period of time of societal, political, financial and environmental uncertainty. All through these solutions of catastrophe and collapse, however, Olson’s exhibition under no circumstances extinguishes a perception of hope and humour. In spite of appearances, these monsters are depicted as variety and nurturing, baffled and introspective and, sometimes, they just want to occasion.
Olson has been attracted to the notion of monsters since childhood, an fascination that stems from his adore of cinema. The artist grew up watching frightening flicks, the 1950s Godzilla movies and David Cronenberg’s system horror. As an adult, Olson’s fascination with monsters usually takes shape in their possible meaning as something metaphorical, socio-political or psychoanalytical. Here, the idea of a monster is an emblem of upheaval and immense alter.
In unique, the artist’s sculptures bookend these ideas of catastrophe. The greatest is a diorama of a monster with a baby, reclining in a decimated sporting activities arena. The lizard-like creature itself is an obvious reference to Kaiju (Godzilla) and the composition is reminiscent of architectural products. The monster retains up the carriage of a destroyed monorail, questioning its meaning with a stunned expression, even though at the same time nursing an infant. Olson plays with perspective, not only with bodily viewpoint through the scale of his sculptural composition, but also with our have point of view of the monstrous. Below, the artist unexpectedly explores the subjectivity of a monster, reconciling it with some thing human by encouraging us to relate to its bewildered expression and its maternal marriage. In the same way, Olson’s more compact sculptures humorously conflate the monstrous and the human as person-produced structures are created on the remnants of extended-useless monsters. A rollercoaster sprouts from a decaying reptilian foot and a children’s slide grows from a clawed hand. These incongruous references to leisure and participate in stand for Olson’s overarching tips of rebirth and rebuilding.
Irrespective of Olson’s explorations of the apocalyptic and the catastrophic, this time of monsters continues to be imbued with the artist’s characteristic feeling of humour. His anthropomorphic creatures are quickly relatable as they are unerringly distracted by a screen, a drink or by every other as the globe will come to an close. this time of monsters requires pleasure in the current and reminds us of the options that can manifest in challenging situations, striking a equilibrium in between a feeling of acknowledgement and hope. Olson’s depictions of these monstrously summary fears inevitably give way to common feelings of the interpersonal, reminding us usually to see ourselves in others.