John Copeland (California, USA, 1976) deals with the complexity and ambiguity of human behaviour. Social situations, passing moments of interaction. These are scenes in which there's a palpable tension beneath the surface or a hidden joke.
People pass in and out of his works as if the surface were a view-finder, capturing moments that are awkward, fleeting, edgy, or disturbing. Men and women come and go across that space - looking at art, taking photographs, reflected in mirrors, joking around, clothed, naked, or often a mixture of both. They watch each other, and we watch them. And like in life, nothing is explained. This is simply humanity in flux.
His works explore these themes through cross-sections of society. The high and the low. The public and the private. Bikers at a wild party. A bunch of paparazzi snapping a half-naked woman. A couple confronts each other by a bed; he has written on her in paint. Two couples sit around a coffee table: what is being said, or what isn't? The narrative is in the subtext - a puzzle offered to the viewer to unravel.
This edition includes three archival pigment prints “There Stands The Glass,” “Everything Went Black,” “Victory At Sea,” one etching “Smell The Flowers,” all signed and numbered and come in a special linen embossed portfolio including a hardcover book published by the gallery on the occasion of the exhibition Times of Grace.