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Jake and Dinos Chapman

Jake and Dinos Chapman PortraitThe Chapmans weave a vast range of associations into their work, using material from all areas of the cultural landscape including philosophical theory, art history and consumer culture. They engage with inflammatory subjects and use subversive strategies to produce works that defiantly refute straightforward interpretation.

The Chapmans first rose to prominence in the early 1990s with their three-dimensional recreations of Goya’s series of etchings, The Disasters of War. These depict atrocious acts of violence, carefully and playfully reconstructed with miniature and life-size figures. Subsequent works have continued to use the body as a way to explore an aesthetic of horror. Tragic Anatomies 1996 consists of a group of sexually-mutated child mannequins with genitalia sprouting from unlikely places, naked except for a pair of Nike trainers. With such works, the Chapmans challenge the very boundaries of taste, forcing the viewer into an uncomfortable position that fluctuates between child-like fascination and sheer revulsion.

Jake and Dinos Chapman

Jake and Dinos Chapman PortraitThe Chapmans weave a vast range of associations into their work, using material from all areas of the cultural landscape including philosophical theory, art history and consumer culture. They engage with inflammatory subjects and use subversive strategies to produce works that defiantly refute straightforward interpretation.

The Chapmans first rose to prominence in the early 1990s with their three-dimensional recreations of Goya’s series of etchings, The Disasters of War. These depict atrocious acts of violence, carefully and playfully reconstructed with miniature and life-size figures. Subsequent works have continued to use the body as a way to explore an aesthetic of horror. Tragic Anatomies 1996 consists of a group of sexually-mutated child mannequins with genitalia sprouting from unlikely places, naked except for a pair of Nike trainers. With such works, the Chapmans challenge the very boundaries of taste, forcing the viewer into an uncomfortable position that fluctuates between child-like fascination and sheer revulsion.
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