Eddie Peake Opinel Hoard Shadow, 2017 Unique screen prints on Somerset 410gsm using hand torn stencils placed by the artist 44 x 51 cm Edition of 100 Each edition is unique and handmade by the artist with variation in colour and form.**
Special launch price: £400 (unframed) Special launch Chisenhale Friends’ price: £360 (unframed)*
*Please note that Chisenhale Friends price is available to those who have supported the gallery via the Benefactors scheme. For more information on the scheme please click here.
**If you would like to see the full portfolio of images to select from, please email firstname.lastname@example.org.
Chisenhale Gallery presents a special limited edition artwork by Eddie Peake, the seventh in the gallery's Archive Editions series.
Working with artists who have participated in Chisenhale Gallery’s historic programme, ‘Archive Editions’ are new works, kindly donated by the artists to raise funds to realise the gallery’s artistic programme and support the next generation of pioneering artists. In 2011 the inaugural ‘Archive Edition’ was produced by Wolfgang Tillmans, followed by editions made by Rachel Whiteread in 2012, Hilary Lloyd in 2013, Mark Leckey in 2014, Jordan Wolfson in 2015 and Camille Henrot in 2016.
Eddie Peake’s performance Amidst A Sea Of Flailing High Heels And Cooking Utensils, part 2 was presented at Chisenhale Gallery in 2012 as part of the gallery’s Interim programme. Presented in co-operation with Tate Modern, the piece featured an original live musical composition and an ensemble of male and female performers. Through this work, Peake continued and elaborated upon motifs explored in his previous performances, addressing the process by which gender and sexuality can be read and signified in performative contexts. Through choreographed movement, the dancers’ bodies become both sculptural and sexual objects, playing on the audience’s voyeuristic desire.
Working in performance, video, photography, painting, sculpture and installation, Peake’s work often exaggerates the latent erotics and playfulness at stake in the process of art making and its public dissemination. Peake's main focus lies in the lapses and voids inherent in the process of translating between verbal language and nonverbal modes of communication. It is in the discrepancy between words and any other language, say, images, emotions, bodily movements or sounds, that his art is located.
Opinel Hoard Shadow, 2017 is a three-colour screen print, each handmade by the artist. Reminiscent of Peake’s acid-coloured Cinema Paintings, a mask of torn newsprint, commonly used in screen printing, stops the ink as it is pushed through the screen creating a cinematic white glow in the centre of the image. The works shift and move creating figures and forms through torn edges and soft creases. The variation of layering and masks forms a series of 100 unique prints. These works glow with Peake’s acid colours in between sombre greens, reds and browns as the inks mix.
Born in London in 1981, Eddie Peake has lived in Jerusalem, Rome and London. Having graduated from the Slade School of Fine Art in 2006, he undertook a residency at the British School at Rome from 2008 to 2009, and in 2013 graduated with a Master’s degree from the Royal Academy Schools, London. Performances include The Tanks, Tate Modern in conjunction with the Chisenhale Gallery (2012); The Royal Academy of Arts (2012); Cell Project Space (2012); Performa 13 (2013), the ICA (2014) and Deitch Projects (2016). International solo exhibitions include Southard Reid, London (2012) (with Prem Sahib); Focal Point Gallery, Southend (2013); White Cube Sao Paulo (2013); Galleria Lorcan O’Neill, Rome (2013); White Cube London (2013); Peres Projects Berlin (2014); Galleria Lorcan O’Neill (2015); Barbican, London (2015); White Cube, Hong Kong, (2016). Recent group exhibitions include Eastside Projects, Birmingham (2016); La Casa Encendida, Madrid (2017); MCA Chicago (2017). Peake was the curator of this year's Volcano Extravaganza (organised by the Fiorucci Art Trust) in Naples and Stromboli, which featured new performance works, re-stagings of earlier work and site-specific murals.