2021 / ALICE FISHER
'...our obsession with the sexual and silly side of the bottom. Our exhibition is a celebration of the many facets of bums'
TIMEOUT , LONDON
2019 / EDDY FRANKEL
''Obviously, this is super-bodily, hyper-sexual stuff. The room is hot, it stinks of sweetness, it’s oppressively bright and grossly tacky. The whole thing feels like a heady, hilarious plunge into sensuality. There are ideas about power here, submission and control, like a broccoli monster is going to slither its way up your bits and strap you into the sex swing. But more than anything it feels like someone just saying ‘fuck it, let’s go’, and that’s pretty liberating.
This is brilliantly messy, gungy, sticky, sexy art. The world around us is a terrifying shambles of politics, war and terrorism, and maybe Prentis’s revolting, light-hearted, kinky art is the perfect antidote.''
ABSINTHE §2 INTERVIEW
2019 / HECTOR CAMPBELL
COLLECTIVE ENDING, ABSINTHE 2 PUBLICATION
''JELLY FLIP 1 has a direct link to absinthe’s colloquial term ‘Green Fairy.’ This feminine portrayal of a highly potent liquor is interesting. ‘The Green Fairy’ is alluring and sexy but in reality, absinthe is a potent, powerful liquor. Jelly is a soft, approachable, feminine material. It’s nostalgic and inviting, but when it’s scaled up to nearly half a tonne, suddenly these adjectives don’t apply anymore. It becomes heavy, masculine, dominant, powerful, problematic. It is still jelly, but when presented in industrial quantities, our relationship to the material shifts.''
Back to art school: Grayson Perry and Gillian Wearing meet tomorrow's stars
Elizabeth Prentis: ‘My falling goo fountain? It’s an experiment’
Elizabeth Prentis calls herself The Slime Queen, which makes sense the moment you see her work. Part sculpture, part performance, It’s Time to Slime features 450kg of handmade slime, held in tarpaulin, ready to be lifted 10ft into the air, and tipped out to create a “slime fountain”. For Prentis, whether the fountain works or not is unimportant: there’s no such thing as failure. “It’s an experiment really,” she says. “I’m not sure, at this stage, how I will know if I’ve succeeded.” Perry is interested in the practicalities of the work and Prentis’s battle against things like rules and regulations. “Maybe the artists of today aren’t rebelling against the previous generation of artists,” he says. “They’re rebelling against health and safety.”
On control, gender, sex and broccoli.
''Four minutes of sexually-charged symbolism and fun. A surreal event which is streamed live and online for the enjoyment of the punters-spectators-voyeurs, which are kept at bay upstairs. The boundaries are clear.
In four minutes, the sound and motion cease and the canvas absorbs all that energy like that silent alien plant. It’s all part of the ritual that Prentis presents. With humour and plenty of broccoli. Watch her.''
The Labourer: Masculinity, Fantasy, Fetish and The Phallic: Elizabeth Prentis