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John Isaacs

Lancaster, United Kingdom. 1968
Let the golden age begin

2016. Steel, wood, 24 carat gold leaf. 210 x 180 x 180 cm

Untitled

2016. Acrylic paint and gel medium on primed raw canvas. 240 x 190 x 5 cm

Untitled

2016. Acrylic paint and gel medium on primed raw canvas. 240 x 190 x 5 cm

Are we not the same you and I

2016. Bronze and 24 carat gold leaf. 113 x 9 x 9 cm

There is no story that is not true

2013. Patinated bronze. 152 x 51 x 21 cm

The long way home

2015. Framed archival c-type print. 141 x 101 x 5 cm

The 13 corners

2015. galvanised steel, mild steel and newpaper. 200 x 65 x 95 cm

Votes for children

2015. Glazed ceramic, steel. 96 x 65 x 65 cm

Inconsolus

2015. Glass tube and transformers. Variable dimensions

Are we not the same you and I

2015. Bronze and gold leaf. 310 x 4 x 4 cm

If I said you could fall in love would you believe me

2015. glazed ceramic, steel and copper. 90 x 70 x 80 cm

On the as yet untitled road to peace

2015. White flag with crystals, chain and gold plated carrot. 160 x 110 x 5 cm

The cyclical development of stasis

2015. Terracotta, plaster, steel, glass, wood. 160 x 56 x 76 cm

Untitled

2015. Framed c-type print. 124 x 78 x 4 cm

A Perfect Soul - The Architecture of Empathy

Carved from statuario marble. 200 x 180 x 110 cm

Cast from light and dark your shadow is no different from mine

2013. Patined bronze, steel. Variable dimensions

Are you like me full of home full of fear

2013. Fabric, glue, cardboard. 190 x 160 x 12 cm

The forgotten temple

2013. Wax, oil paint, plaster, steel, glazed ceramic, 24 carrat gold leaf. 186 x 67 x 114 cm

The long way home

2012. Patinated bronze and steel. 85 x 69 x 75 cm

Encyclopedia

2013. Steel, plaster, wood. 115 x 144 x 85 cm

Ngoromgoro

2013. Glazed ceramic. 72 x 46 x 37 cm

What is it that there is something and nothing (Dyptich)

2012. C-print on aluminium, rubiq cube’s colours. 240 x 179 x 3 cm

Blood and tears

2013. Neon glass fittings, transformer. 180 x 180 x 8 cm

What lies behind what lies before

2012. Painted bronze, steel, car paint. 217 x 52 x 52 cm

Everything is not enough

2012. Car door and neon. 275 x 170 cm

Tjere is no story that is not true

2010. Plaster, resin, Damien Hirst’s trousers. Variable dimensions

Things that can be are that which we know

2011. Glazed ceramic, steel. 75 x 10 x 120 cm

Yesterday, today and tomorrow

2010. Digital print. 48.5 x 38.5 cm

Let the golden age begin

2010. Glass, neon light, electric transformers, flashing units. 180 x 170 x 12 cm

Walking in the poverty of our history in the making

2011. Taxidermized vulture, plaster, garbage bag and his content, steel structure. 230 x 120 x 120 cm

Everything given nothing love

2010. Glazed ceramic. 80 x 80 x 20 cm

Everyone is making do with what they have but looking at you makes me want less

2010. Glazed ceramic, steel. 75 x 10 x 120 cm

To do to you again what was done before

2008. Silicone reproduction elephant foot, car body filler, acrylic paint, vinyl. 104 x 42 x 42 cm

The frightened gods of fortune

2010. Gold plate, wax, plaster, steel, wood, oil paint, latex. 120 x 80 x 105 cm

What is it that there is something and nothing

2006. Archival inkjet photographic print. 110 x 141 cm

Where is my world

2008. Glazed ceramic, human hair, steel, electrical appliance. 50 x 50 x 180 cm

Hanging on the stars

2008. Seven 0.05 ct. diamonds and found lithoprint. 26.5 x 31 cm

The work of John Isaacs produces altered modes of historic perception. Approaching materials from a temporary understanding, the artist transforms oldness and newness into ambiguous categories. Simultaneously, Isaacs reverts the symbology used by religious institutions or popular culture to establish parameters of value and meaning. By liberating these signs from their regular references they can be arranged as a common ground where a truly human aspect manifests itself, with the disposal and tendency towards transcendence.

The initial estrangement produced by Isaacs’ works concerns a shared essence between humans that the artist decides to sublimate but also to parody, using a great diversity of mediums and materials. John Isaacs employs language and referentiality for an adverse purpose, instead of reaffirming meaning, he cancels it in order to reveal the emotional dimension of things and their relation to the human body.

John Isaacs has exhibited extensively on an international level. Exhibitions include: Young British Artists VI, The Saatchi Gallery, London, United Kingdom (1996); Spectacular Bodies, The Hayward Gallery, London, United Kingdom (2000); Disasters of War, KW, Berlin, Germany (2000); Minimal Maximal, Museum of Modern Art, Kyoto, Japan (2001); Melodrama, Centro Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz and Palacio de los Condes de Gabia/Centro José Guerrero, Granada, Spain (2002) and MARCO, Vigo, Spain (2003); Mike Kelly’s The Uncanny, Tate Liverpool, United Kingdom (2004); Les Grands Spectacles, Museum der Moderne, Salzburg, Austria (2004); In the darkest hour there may be light, The Serpentine Gallery, London, United Kingdom (2007); Rockers Island: The Olbricht Collection, Museum Folkwang Essen, Germany (2007); Paul Thek in the context of contemporary art, ZKM, Karlsruhe, Germany (2007); Dream Time, Les Abat- toirs, Musée d’art moderne et contemporain, Toulouse, France (2009); Freedom not Genius, Works from Damien Hirst’s Murderme Collection, Pinacoteca Giovanni e Marella Agnelli, Turin, Italy (2012); Alice im Wunderland der Kunst, Hamburger Kunsthalle, Hamburg, Germany (2012); Highlights from the Collection II, The Goss-Michael Foundation, Dallas, United States (2012); The name is Burroughs − Expanded Media, Sammlung Falckenberg, Deichtorhallen, Hamburg, Germany (2013); A Brief History of the Future, Musées royaux des Beaux-Arts de Belgique, Brussels (2015); About Trees, Zentrum Paul Klee, Bern, Switzerland (2015); Fleischeslust, Museum Villa Rot, Burgrieden-Rot, Germany (2015); The Thousand-Thigh Hospice: experiments in healing, CAN, Centre d’Art de Neuchatel, Switzerland (2015); Absurd builders, handymen utopia, Abbaye Saint André, Centre d’art contemporain, Meymac, France (2015); Forgiveness and Reconciliation, Musei Vaticani, Rome, Italy (2015); INCONSOLUS votes for children, Travesía Cuatro, Madrid, Spain (2015); The 13 Corners, Travesía Cuatro Guadalajara, Mexico (2016); The inner skin – Art and Shame, Museum für Kunst, Architektur, Design, Marta Herford, Germany; John Isaacs, Archipelago, Galleria Poggiali, Milan, Italy, (2018); Da uno a Dieci, Galleria Massimo Minini, Brescia, Italy (2018); Eat me, Kunstmuseum Trapholt, Kolding, Denmark (2018); among others.

John Isaacs lives and works in Berlin, Germany.

cast from light and dark your shadow is no different from mine

2016. Polychrome on wood, gesso. 27 x 15 x 23 cm

Let the golden age begin

2016. Steel, wood, 24 carat gold leaf. 210 x 180 x 180 cm

Cast from light and dark your shadow is no different from mine

2013. Patined bronze, steel. Variable dimensions

There is no story that is not true

2013. Patinated bronze. 152 x 51 x 21 cm

Detail view
You can give everything you have to others, and lose nothing of yourself

2010. Glazed ceramic. 112 x 70 x 50 cm

If I said you could fall in love would you believe me

2015. glazed ceramic, steel and copper. 90 x 70 x 80 cm

Things that can be are that which we know

2011. Glazed ceramic, steel. 75 x 10 x 120 cm

Married to the same idiocy

2013. Ceramic, steel, shellack. 65 x 89 x 7 cm

The long way home

2015. Framed archival c-type print. 141 x 101 x 5 cm

Everything is not enough

2012. Car door and neon. 275 x 170 cm

Votes for children

2015. Glazed ceramic, steel. 96 x 65 x 65 cm

Ngoromgoro

2013. Glazed ceramic. 72 x 46 x 37 cm

Tjere is no story that is not true

2010. Plaster, resin, Damien Hirst’s trousers. Variable dimensions

Are we not the same you and I

2015. Bronze and gold leaf. 310 x 4 x 4 cm

What lies before what lies behind

2012. Patined bronze, steel, car paint. 170 x 51 x 51 cm

What lies before what lies behind (Detail)

2012. Patined bronze, steel, car paint. 170 x 51 x 51 cm