Asylum
Centrefolds Slaves
Centrefolds Slaves
Corona
Kristallnacht
Kristallnacht
Kristallnacht
Kristallnacht
Kristallnacht
Kristallnacht
Kristallnacht
Kristallnacht
Kristallnacht
L’Amour est partout
Madonna
Shakin' Jesus
Stoned Immaculate
Sugar and Spice, all things nice. This is what little girls are made of
Sugar and Spice, all things nice. This is what little girls are made of
Sugar and Spice, all things nice. This is what little girls are made of
Sugar and Spice, all things nice. This is what little girls are made of
The Eight Day
Ultraviolet baby

Mat Collishaw

Asylum
2002
Unique

A kind of magic pervades the small but unforgettable "Asylum", in which the artist projects miniature video footage of men adrift on a raft into a water-filled goldfish bowl set on a pile of rocks and sand. The reference is Gericault's Raft of the Medusa, with its definitive subtext on the Romantic dichotomy of genius and madness.

Mat Collishaw

Centrefolds Slaves
2002
paper, paint, digital print clip frame
29.5 x 20.6 centimeters
Unique

Mat Collishaw

Centrefolds Slaves
2002
paper, paint, digital print clip frame
Unique

Mat Collishaw

Corona
2002
ceramic, cement, wood, paint
350 x 490 centimeters
Unique

Mat Collishaw

Kristallnacht
2002
photograph, glass, acrylic, light
61 x 81 centimeters
Unique

Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle and delightfulness of the black and white pictures. Their impact captivates our senses with their kaleidoscopic effect achieved by a diffuse light originating behind the image and going through a polarized coloured lense. However, after closer consideration, the spectator realises that he is looking at the abjection of the literal Crystal night, usually translated as the "Night of Broken Glass" referring to the anti-Jewish attacks of November 9, 1938.

Mat Collishaw

Kristallnacht
2002
61 x 81 centimeters

Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle and delightfulness of the black and white pictures. Their impact captivates our senses with Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle of the black and white pictures. Their impact captivates our senses with their kaleidoscopic effect achieved by a diffuse light originating behind the image, passed through a polarized coloured lens. However, after closer consideration, the spectator realises that he is looking at the abjection of Kristallnacht, translated as the "Night of Broken Glass" referring to the anti-Semitic attacks of November 9, 1938.

Mat Collishaw

Kristallnacht
2002
46 x 61.5 centimeters

Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle and delightfulness of the black and white pictures. Their impact captivates our senses with their kaleidoscopic effect achieved by a diffuse light originating behind the image and going through a polarized coloured lense. However, after closer consideration, the spectator realises that he is looking at the abjection of the literal Crystal night, usually translated as the "Night of Broken Glass" referring to the anti-Jewish attacks of November 9, 1938.

Mat Collishaw

Kristallnacht
2002
30.5 x 40.5 centimeters
Unique

Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle of the black and white pictures. Their impact captivates our senses with their kaleidoscopic effect achieved by a diffuse light originating behind the image, passed through a polarized coloured lens. However, after closer consideration, the spectator realises that he is looking at the abjection of Kristallnacht, translated as the "Night of Broken Glass" referring to the anti-Semitic attacks of November 9, 1938.

Mat Collishaw

Kristallnacht
2002
46 x 61.5 centimeters
Unique

Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle of the black and white pictures. Their impact captivates our senses with their kaleidoscopic effect achieved by a diffuse light originating behind the image, passed through a polarized coloured lens. However, after closer consideration, the spectator realises that he is looking at the abjection of Kristallnacht, translated as the "Night of Broken Glass" referring to the anti-Semitic attacks of November 9, 1938.

Mat Collishaw

Kristallnacht
2002
46 x 61.5 centimeters

Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle and delightfulness of the black and white pictures. Their impact captivates our senses with their kaleidoscopic effect achieved by a diffuse light originating behind the image and going through a polarized coloured lense. However, after closer consideration, the spectator realises that he is looking at the abjection of the literal Crystal night, usually translated as the "Night of Broken Glass" referring to the anti-Jewish attacks of November 9, 1938.

Mat Collishaw

Kristallnacht
2002
37.5 x 43 centimeters
Unique

Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle of the black and white pictures. Their impact captivates our senses with their kaleidoscopic effect achieved by a diffuse light originating behind the image, passed through a polarized coloured lens.

Mat Collishaw

Kristallnacht
2002
37.5 x 43 centimeters

Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle and delightfulness of the black and white pictures. Their impact captivates our senses with their kaleidoscopic effect achieved by a diffuse light originating behind the image and going through a polarized coloured lense.

Mat Collishaw

Kristallnacht
2002
37.5 x 43 centimeters

Facing the series Kristallnacht, the viewer's attention is immediately attracted by the sparkle of the black and white pictures. Their impact captivates our senses with their kaleidoscopic effect achieved by a diffuse light originating behind the image, passed through a polarized coloured lens.

Mat Collishaw

L’Amour est partout
2002
Unique

Mat Collishaw

Madonna
2002
425 x 258 centimeters
Unique

Silver tears roll down a young girl's face, distorted by a mosaic consisting of 30,000 separate pieces. Like an indication of reality's resistance to all forms of idealisation, that is, to art, invoked here in one of its oldest and most traditional techniques.

Mat Collishaw

Shakin' Jesus
2002
Unique

Mat Collishaw

Stoned Immaculate
2002
video

By courtesy of Damien Hirst. The video projection "Stoned Immaculate" plays on the immediate perception of the viewer, on stereotypes linked with art, the memory or the world of advertising, unveiling the tricks and seductions of the images and the overwhelming weight of reality.

Mat Collishaw

Sugar and Spice, all things nice. This is what little girls are made of
2000
35.7 x 31 centimeters

Mat Collishaw

Sugar and Spice, all things nice. This is what little girls are made of
2002
35.7 x 31 centimeters

Mat Collishaw

Sugar and Spice, all things nice. This is what little girls are made of
2002
gilt frame, glass, paper, acetate, ink, wood, light panel
35.7 x 31 centimeters

Mat Collishaw

Sugar and Spice, all things nice. This is what little girls are made of
2002
gilt frame, glass, paper, acetate, ink, wood, light panel
35.7 x 31 centimeters

Mat Collishaw

The Eight Day
2002
ceramic, cement, wood, paint
354 x 279.6 centimeters
Unique

Mat Collishaw

Ultraviolet baby
2002
Unique

The video projection "Ultraviolet Baby" plays with the initial perception of the audience, and the stereotypes entailed in art, memory and the publicity world, reflecting the overwhelming weight of reality hidden behind the artificial and seductive image.