Peter Linde Busk: To Carthage Then I Came Where a Cauldron of Unholy Loves Sang All about My Ears
Oct 07, 2016 - Nov 09, 2016
Josh Lilley is proud to present Peter Linde Busk鈥檚 second solo exhibition at the gallery. The title of the show is drawn from Augustine鈥檚 Confessions (AD 397鈥�400), the autobiographical books in which the early theologian and 鈥榙octor of grace鈥� chronicled his journey through youthful sin into Christianity. Augustine arrived in Carthage as a 17-year-old innocent, where he was met by overwhelming hedonistic temptation, the 鈥渃auldron of unholy loves.鈥� He succumbed.
Busk鈥檚 body of work for this exhibition is about arrival in a new place. With a series of intensely built-up figurative works in painting, collage, mosaic, ceramic and bronze鈥攐ften in assemblage form鈥擳o Carthage Then I Came takes the viewer to the people who populate that place. The traveler is armed with faith and a moral compass, the tools of pilgrimage, yet finds himself emotionally unprepared for the characters he encounters.
Busk depicts figures in motion, the banished and deposed who carry the weight of their past experience, wrought by their miles but still in one piece. Busk visualizes and enacts the cycles of endeavour and failure that propel the pioneer as much as the exile. He follows a rhythm of rigorous material invention鈥攈is new collages with bolted-on clay elements elude ready categorisation鈥攚hile obeying an unbound intuitive expression inherited from Art Brut and CoBRA. Busk is a student of the grotesque tradition: his thickly accreted characters tell of both profound pathos and a feral state. To share their space is to join the steady but uncertain journey to their destination.
Busk鈥檚 body of work for this exhibition is about arrival in a new place. With a series of intensely built-up figurative works in painting, collage, mosaic, ceramic and bronze鈥攐ften in assemblage form鈥擳o Carthage Then I Came takes the viewer to the people who populate that place. The traveler is armed with faith and a moral compass, the tools of pilgrimage, yet finds himself emotionally unprepared for the characters he encounters.
Busk depicts figures in motion, the banished and deposed who carry the weight of their past experience, wrought by their miles but still in one piece. Busk visualizes and enacts the cycles of endeavour and failure that propel the pioneer as much as the exile. He follows a rhythm of rigorous material invention鈥攈is new collages with bolted-on clay elements elude ready categorisation鈥攚hile obeying an unbound intuitive expression inherited from Art Brut and CoBRA. Busk is a student of the grotesque tradition: his thickly accreted characters tell of both profound pathos and a feral state. To share their space is to join the steady but uncertain journey to their destination.
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Josh Lilley is proud to present Peter Linde Busk鈥檚 second solo exhibition at the gallery. The title of the show is drawn from Augustine鈥檚 Confessions (AD 397鈥�400), the autobiographical books in which the early theologian and 鈥榙octor of grace鈥� chronicled his journey through youthful sin into Christianity. Augustine arrived in Carthage as a 17-year-old innocent, where he was met by overwhelming hedonistic temptation, the 鈥渃auldron of unholy loves.鈥� He succumbed.
Busk鈥檚 body of work for this exhibition is about arrival in a new place. With a series of intensely built-up figurative works in painting, collage, mosaic, ceramic and bronze鈥攐ften in assemblage form鈥擳o Carthage Then I Came takes the viewer to the people who populate that place. The traveler is armed with faith and a moral compass, the tools of pilgrimage, yet finds himself emotionally unprepared for the characters he encounters.
Busk depicts figures in motion, the banished and deposed who carry the weight of their past experience, wrought by their miles but still in one piece. Busk visualizes and enacts the cycles of endeavour and failure that propel the pioneer as much as the exile. He follows a rhythm of rigorous material invention鈥攈is new collages with bolted-on clay elements elude ready categorisation鈥攚hile obeying an unbound intuitive expression inherited from Art Brut and CoBRA. Busk is a student of the grotesque tradition: his thickly accreted characters tell of both profound pathos and a feral state. To share their space is to join the steady but uncertain journey to their destination.
Busk鈥檚 body of work for this exhibition is about arrival in a new place. With a series of intensely built-up figurative works in painting, collage, mosaic, ceramic and bronze鈥攐ften in assemblage form鈥擳o Carthage Then I Came takes the viewer to the people who populate that place. The traveler is armed with faith and a moral compass, the tools of pilgrimage, yet finds himself emotionally unprepared for the characters he encounters.
Busk depicts figures in motion, the banished and deposed who carry the weight of their past experience, wrought by their miles but still in one piece. Busk visualizes and enacts the cycles of endeavour and failure that propel the pioneer as much as the exile. He follows a rhythm of rigorous material invention鈥攈is new collages with bolted-on clay elements elude ready categorisation鈥攚hile obeying an unbound intuitive expression inherited from Art Brut and CoBRA. Busk is a student of the grotesque tradition: his thickly accreted characters tell of both profound pathos and a feral state. To share their space is to join the steady but uncertain journey to their destination.
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