“The previous planet is dying and the new entire world struggles to be born. Now is the time of monsters.” – Antonio Gramsci
Jeremy Olson’s hottest solo exhibition with Unit London locations his common forged of otherworldly creatures at the centre of an apocalyptic planet. this time of monsters draws its title from Italian thinker Antonio Gramsci’s reflections on interregnum. Interregnum, an historical Roman term, signifies a interval of extensive transition between historic phases. Olson situates his exhibition in this state of in-betweenness, commenting on our latest period of time of societal, political, economic and environmental uncertainty. All through these suggestions of catastrophe and collapse, nonetheless, Olson’s exhibition never extinguishes a sense of hope and humour. Despite appearances, these monsters are depicted as form and nurturing, puzzled and introspective and, at times, they just want to get together.
Olson has been attracted to the strategy of monsters given that childhood, an fascination that stems from his adore of cinema. The artist grew up looking at terrifying motion pictures, the 1950s Godzilla movies and David Cronenberg’s human body horror. As an grownup, Olson’s fascination with monsters can take condition in their potential that means as a thing metaphorical, socio-political or psychoanalytical. Here, the idea of a monster is an emblem of upheaval and immense transform.
In specific, the artist’s sculptures bookend these ideas of catastrophe. The greatest is a diorama of a monster with a child, reclining in a decimated sports arena. The lizard-like creature alone is an apparent reference to Kaiju (Godzilla) and the composition is reminiscent of architectural versions. The monster holds up the carriage of a ruined monorail, questioning its that means with a shocked expression, when at the same time nursing an infant. Olson plays with viewpoint, not only with bodily point of view by the scale of his sculptural composition, but also with our own viewpoint of the monstrous. Here, the artist unexpectedly explores the subjectivity of a monster, reconciling it with some thing human by encouraging us to relate to its confused expression and its maternal marriage. Likewise, Olson’s lesser sculptures humorously conflate the monstrous and the human as gentleman-built structures are developed on the remnants of extensive-dead monsters. A rollercoaster sprouts from a decaying reptilian foot and a children’s slide grows from a clawed hand. These incongruous references to leisure and participate in depict Olson’s overarching suggestions of rebirth and rebuilding.
Inspite of Olson’s explorations of the apocalyptic and the catastrophic, this time of monsters continues to be imbued with the artist’s characteristic feeling of humour. His anthropomorphic creatures are immediately relatable as they are unerringly distracted by a display, a drink or by each other as the earth comes to an end. this time of monsters usually takes enjoyment in the current and reminds us of the prospects that can manifest in tough circumstances, putting a stability in between a feeling of acknowledgement and hope. Olson’s depictions of these monstrously abstract fears inevitably give way to common thoughts of the interpersonal, reminding us generally to see ourselves in other folks.