Pure Evil & Wildcat Will

Evil & Wild: Contemporary Pop Art in Cornwall
 
Launch: Saturday 26 October 2013 at 6pm

Exhibition: Saturday 26 October to Saturday 30 November 2013
POP Café & Gallery, Unit 5, Trevanson Street, Wadebridge PL27 7AW

Artists’ statements

Pure Evil
To understand something of Pure Evil, it is illuminating to know that he is a descendant of Sir Thomas More, author of the controversial work Utopia, who was later beheaded by King Henry VIII and subsequently canonised. With this busy background, it is only natural that Pure Evil should explore the darker side of the wreckage of Utopian dreams and the myth of the Apocalypse, a belief in the life-changing event that brings history with all its conflicts to an end.
Pure Evil’s ancestry is alleged to include eight saints: Vladimir the Great, Saint Anna of Russia, the Holy Martyrs Boris and Gleb, Saint Stephen of Hungary, Saint Margaret of Scotland and Saint Mathilde as well as Saint Thomas More, Humbert III of Savoy and several European royal families. He is also a descendant of the Old English Chieftain Ailric, Kings Thane to Edward the Confessor, who held Cawthorne and much of South Yorkshire before the Conquest.
During the past five years, Pure Evil has exhibited in China, Russia, Mongolia, Brazil, USA and all over Europe, and as an ‘Accidental Gallerist’, he has produced over 50 different exhibitions with emerging and established artists at his gallery and internationally. He produces a monthly radio show on Mixcloud and regularly gives workshops and participates in lectures about street art.

Wildcat Will
The work of Wildcat Will or William Blanchard is that of simplicity, ambiguity and also, at first glance, of a lackadaisical carefree concern, however, on closer inspection it is actually purposeful, without thought and an essential asset to the very nature of his work; an antidote to the buttoned-up, ‘shiny facade’ of the corporation that the artist and art world has become, and is so fascinated and entranced with.
The influences in Blanchard’s work abound and are easily identifiable from the Pop Art movement – from Paolozzi, Jasper Johns, Indiana, Rauschenberg, Peter Blake, Hamilton, Tilson, Peter Philips, Wesselmann and Oldenburg to Bermann, Cornell and Schwitters. The fact that they are so abundant and omnipresent in the work does not diminish nor detract from it, rather it shouts their brash influence and appropriation, taken and usurped as commercial reference to  once again comment and produce subjective sentiments on modern day, today.
Ironically, where Pop culture in the 1950s was elevated to high art status out of the realm of advertising, entertainment and escapism – like the elevation of urban art and graffiti in the 2000s – Blanchard’s work does the opposite; it challenges the notion of art through the work’s structure, materials, how it is built and seemingly random juxtapositions, lighthearted characteristics and sloganeering, meting out the role that commercial art plays in contemporary urban life. It is less a comment on society but more a personal reaction to what is going on around him, a subjective connect on our cultural life.