The subjects aren’t strangers; they are Hempton’s friends, acquaintances and, for the picture that initiated the series, her boyfriend.Initially, she wanted to paint his erection, but this required him to watch pornography while he posed – ‘which put me in an interesting position’, she tells me – so she eventually asked him to flip onto his front.His practice is grounded in emancipatory and decolonial thought with an emphasis on cultural identities and new subjectivities.
« Sentry », 2016, clay, fondant sugar, steel, dimensions variables. Jesse Darling’s practice is concerned with the human condition and how it is mediated through the structures, narratives and technologies that govern lived experience.
« Saint Batman », 2016, welded steel, sugar, antivirus mask, expanding foam, 159 x 61 x 27 cm. Considering the social and physical body as a site where architectural, [bio] political and social structures manifest and become transformed, Jesse Darling works in sculpture, installation, text and ‘dasein by design’ (the space where performance and unmediated experience meet).
By Milovan Farronato, Mendes Wood DM, São Paulo; “Lupa”, Galerie Sultana Paris, France (2015); “Chat Random”, Southard Reid, London, UK; “Paintings on Wall and Canvas”, Galleria Lorcan O’Neill, Rome; a performance and presentation of work made in Stromboli as part of Fiorucci Art Trust’s festival Forget Amnesia (2014); “Cur”, Southard Reid, London, UK and Vug, Neuer Aachener Kunstverein, Aachen, Germany (2013).
Selected forthcoming and recent group exhibitions include “The Painting Show”, British Council Touring Exhibition; “Electronic Superhighway 2016 – 1966”, Whitechapel Gallery, London; “I’m here but you’ve gone”, Fiorucci Art Trust, London; “Tomorrow: London”, South London Gallery, London; “Burning Down The House”, Gwangju Biennale and Abstract Cabinet, David Roberts Art Foundation, London, (2013).
Though the foregrounding of male buttocks carries cultural baggage, the sexual inflection of this particular presentation of the body is, in some sense, incidental.
What Hempton seeks, rather, is the chance to paint from an ‘interesting position’ – in this case, the fascination, rage, hilarity or whatever it is that ensues from watching your partner turned-on by someone else.
Recent exhibitions include: “The Shadow of the Dome of Pleasure”, Artspace, New Zealand; “Absolute Bearing”, LD50 Gallery, London; “Spirit Level” (with Takeshi Shiomitsu), AND/OR Gallery, London; “Devotions”, MOT Projects, London; They/Them, DREI, Cologne (all 2015); and “Art After the Internet”, Mo MA, Warsaw (2014).
Later this year, they will present a solo exhibition at Company Gallery, New York, and will also be published in the upcoming anthology Best British Poetry 2015.
Indeed, many Moroccan citizens have not obtained a valid permit to stay in their host country and some may wish, after a time, to return voluntarily to their country.
Caritas International now wants to strengthen assistance for return through its participation in the ERIN Specific Action Program.
‘What I am looking for when painting’, Hempton says, ‘is a situation more important than the painting itself.’ For her series ‘Chat Random’ (2014–ongoing), which was first shown at Southard Reid in London in 2014, the artist utilizes chatrandom.com, which connects global users via webcam – usually for the purposes of masturbation.