Joel Davidson

Recently my predominantly sculptural practice has focused on illusionistic ways of working, producing works that momentarily cause confusion in the viewer: Pieces can be easily mistaken for the real thing before being seen as an art object.

This is achieved through realistic sculpting and casting processes with detailed paint applications – re-creating recognisable objects that relate both to my class background and everyday surroundings.

Sometimes though, the sculptures deliberately expose the processes used to make them; setting up a paradox or contradiction between representation and the deceptive aspects of my practice.

The installation of works intentionally plays with context and expectation, which sometimes might make the work seem ephemeral, incongruous or alien to gallery spaces.

Within my work, I attempt to draw parallels between class, masculinity and status – using influences that range from GREGGS pastries to historical paintings – which manifest in quasi-figurative sculptures that blend the grotesque, the bodily and the absurd.