Painterly atoms splitting. Doors to the multiverse ajar. No immediate beginning or end. Perpetual motion. Gears turning, interlocking, levitating. A transcendental surface. In and out of focus. Permanently ephemeral. A cosmic sensibility. So, Futura 2000’s solo exhibition, The Mechanical Age, opens with two striking red, white, and black sibling paintings, Sister and Brother, aerosol on primed canvas, which was executed in 2025.
Pairs of Pointmen, Futura 2000’s seminal characters, converge in a new series of collaged works on paper. Each of the twenty new works also includes a banknote from a country that the artist has visited during his lifetime or dreamt himself to. The banknotes now appear as relics, long-lost tokens from a physical capitalist age, where tangible currency and commerce went hand in hand. Financial postcards from Ukraine, Zaire, Denmark, Cuba, America, and many other nations. Within the paintings, silhouettes of gears float in and out of the compositions, interacting with currencies and abstracted figures, a perplexing sensation of loss of gravitation. The works have a transitional feeling, leaving behind the concrete and drifting towards something else, less solid, uncertain, and spectral. The moment of departure.
Two dynamic atom compositions on canvas, created with aerosol on primed canvas, Husband and Wife, bounce with a buoyant energy. The two paintings feel simultaneously interconnected and free, emphasising a sensation of community and cycle in the exhibition. We co-exist in an interlinked world where cause and effect become still more apparent in our relationships with each other and the rest of the planet.
Kilde:
Eighteen
Eighteen