FRINGE: THE VERY DEFINITION

April 2017

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In his first solo exhibition, titled The Very Definition, FRINGE was introduced as a graffiti-inspired visual artist portraying the world’s most recognisable figures and figureheads with a playful makeover.
Celebrating the irreverent spirit of Pop Art, the artist created mixed media works paying tribute to music & movie stars, historical heroes and logos, bringing the city walls into the gallery space.
With the anonymous artist out the picture, what remained “are his renderings of things with a supposedly mass appeal: Mahatma Gandhi, Queen Elizabeth, Jack Nicholson, The Beatles, Star Wars, Warhol’s silkscreened fruit and reinterpreted Coca-Cola logos. He urges you to rearrange – or ‘de-arrange’ your head, to mentally digest his random journey through the pop culture of the 20th Century.”
The exhibited works fell into three broad themes: love, hope and fear. Titles with their definitions were embedded in the compositions, so that the viewer could relate the apparently disparate elements to one another.

DON’T BLINK

September 2018

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FRINGE’s second exhibition of mixed media works contained an extension of his joyful, yet irreverent, iconography. Again, his anonymity allowed him to navigate the pop world of familiar characters, brands and slogans without being weighed down by the distraction of a real persona.
The artist’s motivation behind the collection was to encourage the realization that the fast pace of progress, technological and creative, is inevitable. The artist’s statement claimed, “We will never be able to slow our pace. We are all victims of a specific state of mind. All in or all out. If we start we cannot stop. The only way to take it in is to look through the rear view mirror while we drive on by. That way we catch the now and the then.’
DON’T BLINK was a mind bending journey through the characters and charades of youth, reminding us that, however old, we can all be happy children.
The exhibited works fell into three broad themes: love, hope and fear. Titles with their definitions were embedded in the compositions, so that the viewer could relate the apparently disparate elements to one another.