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Graham Fagen

 

Graham Fagen (born 1966) is a Scottish artist living and working in Glasgow, Scotland. Having collaborated with curators and institutions internationally, his work is complex and increasingly significant within the context of contemporary Scottish art, being one of the most influential artists working in Scotland today. His work mixes media and crosses continents; combining video, performance, photography and sculpture with text, live music and plants. Fagen’s recurring artistic themes, which include flowers, journeys and popular song, are used as attempts to understand the powerful forces that shape our lives.

Fagen studied at The Glasgow School of Art (1984-1988, BA) and the Kent Institute of Art and Design (1989-1990, MA), and is currently a Professor at Duncan of Jordanstone College of Art & Design in Dundee. In 1999 Fagen was invited by the Imperial War Museum, London to work as the Official War Artist for Kosovo, and since then has exhibited widely both in the UK and abroad. In 2015 Graham Fagen was selected to represent Scotland at the 56th Venice Biennale.


Vehiculating a profound understanding of art history - while constantly establishing parallels to contemporary issues within a multitude of different practices - his oeuvre ranges from installation-based works to drawings on paper, from ceramic sculpture to neon work, from video and sound works to large scale bronzes, never hesitating to visually rephraze various issues in profound ways, and challenging our understanding thereof.


He has exhibited internationally at the Busan Biennale, South Korea (2004), the Art and Industry Biennial, New Zealand (2004), the Venice Biennale (2003) and represented Scotland at the 56th Venice Biennale in 2015 in a presentation curated and organized by Hospitalfield.

His work has been exhibited at the Victoria and Albert Museum, the Tate Britain, the Institute of Contemporary Arts, London, and at the Scottish National Portrait Gallery, in Edinburgh, Scotland.

 

 

Graham Fagen "Rope Tree" at the 56th International Art Exhibition, La Biennale di Venezia, 2015, Palazzo Fontana, VeniceGraham Fagen "Rope Tree" at the 56th International Art Exhibition, La Biennale di Venezia, 2015, Palazzo Fontana, Venice

Graham Fagen

Rope Tree

2015

Bronze

edition of 1 +1 AP

 

450 by 400 by 400 cm

(approx. 177.2 by 157.5 by 157.5 in.)

 

Installation views, 56th International Art Exhibition, La Biennale di Venezia, 2015
Palazzo Fontana, Venice

 

 

 

 

 

Graham Fagen
War/Garden (American)Graham Fagen War/Garden (American)

Graham Fagen

War / Garden (American)

2017

neon, acrylic glass

edition of 1 + 1AP

 

24 by 72 by 4.5 in.

(approx 61 by 183 by 11,5 cm)

 

 

 

 

 

Graham Fagen - Scheme for Consciousness - FacelessGraham Fagen - Scheme for Consciousness - Faceless

Graham Fagen

Scheme for Consciousness - Faceless

2018

ceramic, white glaze, and mild steel

unique

 

34 by 16 by 16 cm (approx. 13.4 by 6.3 by 6.3 in.)

 

 

 

 

Graham Fagen - Scheme for Consciousness - FullfaceGraham Fagen - Scheme for Consciousness - Fullface

Graham Fagen

Scheme for Consciousness - Fullface

2018

ceramic, white glaze, and mild steel

unique

 

34 by 16 by 16 cm (approx. 13.4 by 6.3 by 6.3 in.)

 

private collection Munich, Germany

 

 

 

 

 

Graham Fagen - Scheme for Consciousness - Twoface (frontal view)Graham Fagen - Scheme for Consciousness - Twoface (frontal view) Graham Fagen - Scheme for Consciousness - Twoface (back view)Graham Fagen - Scheme for Consciousness - Twoface (back view)

Graham Fagen

Scheme for Consciousness - Twoface

(left: frontal view   right: back view)

2018

iron

unique

 

38 by 20 by 10 cm (approx. 15 by 7.9 by 3.9 in.)

 

 

 

 

 

Graham Fagen, Scheme for Consciousness


While in residence at Artspace, San Antonio (2011), Fagen made his first attempt to consciously explore his interest in teeth. He took a piece of paper and a pencil and used his tongue to feel a tooth in his head, drawing what he felt and repeating the process until he had rendered all of them. He later filled in the forms with enamel paint, using India ink to depict the spatial relationship between his teeth and their location in his skull. In process, he came to realize that he was not drawing “teeth” per se, but consciousness itself. The resulting image illuminated a place between representation and consciousness.

 


I think I’m interested in many things (concerning teeth); how we look after them and judge others by them. Dental work for the perception of perfect white teeth. The fact that we all have them, dead or alive. Universal but at the same time totally unique. And, for most of us, we communicate our thoughts and feelings to the rest of the world through our top and bottom set.


A lot of inhumanity (is also expressed through teeth) like the way a slave owner or buyer would look at the teeth (of an African) to gauge health and age (or) the news footage I remember seeing of military surgeons checking Saddam Hussein’s teeth hours or days before hanging him.
I see these works as self-portraits, but also portraits of perceived Others.

 


Extract from Dr. Erica Moiah James  Assistant, Professor in the Department of Art and Art History at the University of Miami, essay titled Opus V in the publication Graham Fagen The Slave’s Lament 2018. ISBN 978-2-920325-68-5. Published by Galerie de I’UQAM, Montreal, Canada.

 

 

 

 

Graham Fagen "Scheme for Consciousness (1)"Graham Fagen "Scheme for Consciousness (1)"

Graham Fagen

Scheme for Consciousness (1)

2018

23 Carat Gold Leaf, enamel and Indian ink

on 638g/m² Saunders Waterford paper

 

58 by 39 cm (approx. 22.8 by 15.4 in.)

 

 

 

 

Graham Fagen "Scheme for Consciousness (2)"Graham Fagen "Scheme for Consciousness (2)"

Graham Fagen

Scheme for Consciousness (2)

2018

enamel and Indian ink on 638g/m² Saunders Waterford paper

 

58 by 39 cm (approx. 22.8 by 15.4 in.)

 

 

 

 

 

Graham Fagen "Scheme for Consciousness (3)"Graham Fagen "Scheme for Consciousness (3)"

Graham Fagen

Scheme for Consciousness (3)

2018

enamel and Indian ink on 638g/m² Saunders Waterford paper

 

58 by 39 cm (approx. 22.8 by 15.4 in.)

 

 

 

 

Graham Fagen "Scheme for Consciousness (4)"Graham Fagen "Scheme for Consciousness (4)"

Graham Fagen

Scheme for Consciousness (4)

2018

enamel and Indian ink on 638g/m² Saunders Waterford paper

 

58 by 39 cm (approx. 22.8 by 15.4 in.)

 

 

 

 

Graham Fagen "Scheme for Consciousness" (Diptych)Graham Fagen "Scheme for Consciousness" (Diptych)

Graham Fagen

Scheme for Consciousness  (Diptych)

2018

enamel and Indian ink on 638g/m² Saunders Waterford paper

 

each 58 by 39 cm (approx. 22.8 by 15.4 in.),

individually framed

 

 

 

 

Graham Fagen "Scheme for Consciousness (Front)"Graham Fagen "Scheme for Consciousness (Front)"

 

 

Graham Fagen "Scheme for Consciousness (Front)", detailGraham Fagen "Scheme for Consciousness (Front)", detail

Graham Fagen

Scheme for Consciousness (Front)

2018

23 Carat Gold Leaf

on 638g/m² Saunders Waterford paper

 

58 by 39 cm (approx. 22.8 by 15.4 in.)

 

 

 

 

Graham Fagen "Scheme for Consciousness (Routes)"Graham Fagen "Scheme for Consciousness (Routes)"

 

 

Graham Fagen "Scheme for Consciousness (Routes)", detailGraham Fagen "Scheme for Consciousness (Routes)", detail

Graham Fagen

Scheme for Consciousness (Routes)

2018

23 Carat Gold Leaf

on 638g/m² Saunders Waterford paper

 

58 by 39 cm (approx. 22.8 by 15.4 in.)

 

 

 

 

 

Graham Fagen - Scheme for Support  (Single), 2014Graham Fagen - Scheme for Support (Single), 2014

 

 

Graham Fagen - Scheme for Support  (Single), 2014Graham Fagen - Scheme for Support (Single), 2014

Graham Fagen

Scheme for Support (Single)

2014

ceramic, mild steel, concrete

unique

 

67 by 15 by 26 cm (approx. 29.9 by 5.9 by 10.25 in.)

 

 

 

 

Graham Fagen - Scheme for Support  (Couple), 2014Graham Fagen - Scheme for Support (Couple), 2014

Graham Fagen

Scheme for Support (Couple)

2014

ceramic, mild steel, concrete

unique

 

67 by 19 by 46 cm (approx. 29.9 by 7.5 by 18.1 in.)

 

 

 

 

Graham Fagen - Scheme for Support  (Separated), 2014Graham Fagen - Scheme for Support (Separated), 2014

Graham Fagen

Scheme for Support (Separated)

2014

ceramic, mild steel, concrete

unique

 

67 by 26 by 46 cm (approx. 29.9 by 10.25 by 18.1 in.)

 

 

 

 

 

 

 

Graham Fagen
The Garden/Radio RelayGraham Fagen The Garden/Radio Relay

Graham Fagen

The Garden / Radio Relay

7 " Vinyl in printed sleeve and Book

2016

vinyl record, book

edition of five hundred

 

7 in. vinyl

8 1/4 by 8 1/4 in. book

 

 

click to listen to Graham Fagen's The Gardenclick to listen to Graham Fagen's The Garden

 

The Garden

2016

audio

3' 00"

 

 

The Garden was created by Graham Fagen for a site at Grey Point Fortas part of Radio Relay,

a multi-media arts project conceived by Golden Thread Gallery ,

and funded by 14-18 NOW  WW1  Centenary Art Commissions.