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Ashley Bickerton

Ashley Bickerton, Tormented Self-Portrait (Susie at Arles) #2, 1988 Synthetic polymer, bronze powder, and lacquer on wood, anodized aluminum, rubber, plastic, Formica, leather, chrome-plated steel, and padded canvas covering, 90 × 69 × 18 inches (228.6 × 175.3 × 45.7 cm)© Ashley Bickerton

Ashley Bickerton, Tormented Self-Portrait (Susie at Arles) #2, 1988

Synthetic polymer, bronze powder, and lacquer on wood, anodized aluminum, rubber, plastic, Formica, leather, chrome-plated steel, and padded canvas covering, 90 × 69 × 18 inches (228.6 × 175.3 × 45.7 cm)
© Ashley Bickerton

Ashley Bickerton, Good Painting #2, 1988 Silkscreen, acrylic, resin, and aniline dye on plywood with anodized aluminum and custom-made canvas cover, 90 × 69 × 18 inches (228.6 × 175.3 × 45.7 cm)© Ashley Bickerton

Ashley Bickerton, Good Painting #2, 1988

Silkscreen, acrylic, resin, and aniline dye on plywood with anodized aluminum and custom-made canvas cover, 90 × 69 × 18 inches (228.6 × 175.3 × 45.7 cm)
© Ashley Bickerton

Ashley Bickerton, Wild Gene Pool: Ark No.3, 1990 Wood, anodized aluminum, rubber, leather, rope, mountaineering harness, and wild seeds, 77 ½ × 79 × 14 ¼ inches (196.9 × 200.7 × 36.2 cm)© Ashley Bickerton

Ashley Bickerton, Wild Gene Pool: Ark No.3, 1990

Wood, anodized aluminum, rubber, leather, rope, mountaineering harness, and wild seeds, 77 ½ × 79 × 14 ¼ inches (196.9 × 200.7 × 36.2 cm)
© Ashley Bickerton

Ashley Bickerton, Seascape: Floating Costume to Drift for Eternity II (Cowboy Suit), 1992 Enamel on milled aluminum, anodized aluminum, rope, wood, safety glass, caulk, fiberglass, nylon webbing, and found object, 91 ¾ × 81 ⅛ × 221 ½ inches (233 × 206 × 57.1 cm)© Ashley Bickerton

Ashley Bickerton, Seascape: Floating Costume to Drift for Eternity II (Cowboy Suit), 1992

Enamel on milled aluminum, anodized aluminum, rope, wood, safety glass, caulk, fiberglass, nylon webbing, and found object, 91 ¾ × 81 ⅛ × 221 ½ inches (233 × 206 × 57.1 cm)
© Ashley Bickerton

Ashley Bickerton, Bismarck Archipelago Shark, 2002 Polyurethane resin, rubber, canvas, rope, acrylic paint, coconuts, polyvinyl chloride, and mouthwash, 157 ⅞ × 30 ¾ × 39 ⅜ inches (401 × 78 × 100 cm)© Ashley Bickerton

Ashley Bickerton, Bismarck Archipelago Shark, 2002

Polyurethane resin, rubber, canvas, rope, acrylic paint, coconuts, polyvinyl chloride, and mouthwash, 157 ⅞ × 30 ¾ × 39 ⅜ inches (401 × 78 × 100 cm)
© Ashley Bickerton

Ashley Bickerton, Landscape with Green Sky, 2002 Photo collage, acrylic, and objects on wood, 72 × 96 × 14 ½ inches (182.9 × 243.8 × 36.8 cm)© Ashley Bickerton

Ashley Bickerton, Landscape with Green Sky, 2002

Photo collage, acrylic, and objects on wood, 72 × 96 × 14 ½ inches (182.9 × 243.8 × 36.8 cm)
© Ashley Bickerton

Ashley Bickerton, Orange Shark, 2008 Polyurethane resin, nylon, cotton webbing, stainless steel, mouthwash, distilled water, coconuts, and rope, 60 × 116 × 42 inches (152.4 × 294.6 × 106.7 cm)© Ashley Bickerton

Ashley Bickerton, Orange Shark, 2008

Polyurethane resin, nylon, cotton webbing, stainless steel, mouthwash, distilled water, coconuts, and rope, 60 × 116 × 42 inches (152.4 × 294.6 × 106.7 cm)
© Ashley Bickerton

Ashley Bickerton, Wall-Wall (Wild Mexico), 2017 Oil, acrylic, and metal-flake enamel on resin and fiberglass on plywood with brushed aluminum with found objects, 59 ⅛ × 118 ⅛ × 7 ⅛ inches (150 × 300 × 18 cm)© Ashley Bickerton

Ashley Bickerton, Wall-Wall (Wild Mexico), 2017

Oil, acrylic, and metal-flake enamel on resin and fiberglass on plywood with brushed aluminum with found objects, 59 ⅛ × 118 ⅛ × 7 ⅛ inches (150 × 300 × 18 cm)
© Ashley Bickerton

Ashley Bickerton, Water Vector 1 (Orange), 2017 Found beach detritus, mirrored veneer, etched glass, nylon, plywood, and brushed aluminum, 94 ½ × 72 ¾ × 14 ¼ inches (240 × 18 × 360 cm)© Ashley Bickerton

Ashley Bickerton, Water Vector 1 (Orange), 2017

Found beach detritus, mirrored veneer, etched glass, nylon, plywood, and brushed aluminum, 94 ½ × 72 ¾ × 14 ¼ inches (240 × 18 × 360 cm)
© Ashley Bickerton

Ashley Bickerton, Seascape: Floating Ocean Chunk No. 1, 2017 Resin, fiberglass, oil paint, enamel, aluminum, and plywood, 57 × 74 × 21 inches (144.8 × 188 × 53.3 cm)© Ashley Bickerton

Ashley Bickerton, Seascape: Floating Ocean Chunk No. 1, 2017

Resin, fiberglass, oil paint, enamel, aluminum, and plywood, 57 × 74 × 21 inches (144.8 × 188 × 53.3 cm)
© Ashley Bickerton

Ashley Bickerton, Painting Thing: To Where the World, 2019 Oil and acrylic on inlaid archival digital print on resin and fiberglass, 59 × 53 × 3 ⅜ inches (150 × 135 × 8.4 cm)© Ashley Bickerton

Ashley Bickerton, Painting Thing: To Where the World, 2019

Oil and acrylic on inlaid archival digital print on resin and fiberglass, 59 × 53 × 3 ⅜ inches (150 × 135 × 8.4 cm)
© Ashley Bickerton

Ashley Bickerton, Flotsam Painting: Green Sky, 2019 Beach flotsam, oil, and acrylic on canvas with plywood, glass, and stainless steel, 61 × 84 ⅝ × 8 ½ inches (155 × 215 × 21.5 cm)© Ashley Bickerton

Ashley Bickerton, Flotsam Painting: Green Sky, 2019

Beach flotsam, oil, and acrylic on canvas with plywood, glass, and stainless steel, 61 × 84 ⅝ × 8 ½ inches (155 × 215 × 21.5 cm)
© Ashley Bickerton

Ashley Bickerton, 12°41'26.5"N, 53°28'36.5"E 1, 2022 Resin, fiberglass, stainless steel, and wood, 10 ¼ × 9 ¼ × 7 ½ inches (26 × 23.5 × 19 cm)© Ashley Bickerton

Ashley Bickerton, 12°41'26.5"N, 53°28'36.5"E 1, 2022

Resin, fiberglass, stainless steel, and wood, 10 ¼ × 9 ¼ × 7 ½ inches (26 × 23.5 × 19 cm)
© Ashley Bickerton

About

Ashley Bickerton rose to prominence in the mid-1980s with a succession of ironic, abstracted constructions focused on questions of consumerism and identity. Establishing his own (pointedly “feminine”) brand, Susie, Bickerton manufactured knowingly impersonal “self-portraits,” juxtaposing his imaginary company’s logo with various real-world examples. The works’ corporate aura is further enhanced by their elaborate steel, leather, and rubber façades. He has also produced “still lives” incorporating digital screens that display their own fluctuating market value, satirizing art as the object of commercial speculation. And since relocating to the Indonesian island of Bali in the early 1990s, Bickerton has explored cultural dislocation in paintings and sculptures with an ornate, handcrafted aesthetic.

Bickerton was born in 1959 in Barbados, West Indies. He received his BFA from the California Institute of the Arts in 1982 and graduated from the Independent Study Program of the Whitney Museum of American Art, New York, in 1985. The following year he was included, with Peter Halley, Jeff Koons, and Meyer Vaisman, in an exhibition at Sonnabend Gallery, New York, that helped cement his association with the city’s emergent Neo-Geo movement (though he felt a closer affinity with the contemporaneous Commodity Art and Neo-Conceptualist tendencies). Many of his works of the period—including such series as Abstract Painting for People (1986), Wall Wall (1986–88), and Landscape (1988)—have structures that suggest packing crates or carrying cases, alluding to prosaic function but lacking a clear purpose beyond self-promotion and self-protection.

In 1993, Bickerton’s work took a self-consciously “exotic” turn when he relocated to Bali. Its elaborate styling and tongue-in-cheek feel contrast sharply with the conceptual detachment of his previous output, though a slippage between mediums, genres, and subjects remains in evidence. Employing polished figuration to parody Western fantasies of a hypersexualized expat life, Bickerton depicts himself, his family, and his friends in lurid colors, introducing the grotesque “blue man” character as an archetypal European male in an “othered” tropical setting; he is, in the artist’s words, “lost and adrift in an alien twenty-first century, awash in a whole other set of sociocultural and psychological metrics—ones that he is clearly unable to grasp.”

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Ashley Bickerton

Photo: courtesy Bickerton Studio

Fairs, Events & Announcements

Photo: courtesy Bickerton Studio

New Representation

Ashley Bickerton

Gagosian is pleased to announce the gallery’s representation of Ashley Bickerton. The artist’s first solo exhibition with the gallery is scheduled for 2023 at Gagosian New York.

Originally identified with the Neo-Geo tendency of the late-1980s scene in New York, Bickerton made his name with ironic, abstracted constructions focused on ideas of consumerism, identity, and value. When Bickerton relocated permanently to the Indonesian island of Bali in 1993, his work took a self-consciously “exotic” turn. Its tongue-in-cheek feel and ornate, crafted look contrast sharply with the conceptual detachment of his previous output, though a slippage between mediums, genres, and subjects remained. Over the past few years, Bickerton has brought his practice full circle, synthesizing its heterogeneous modes and gestures into an all-encompassing visual language.

Photo: courtesy Bickerton Studio