The Patron 1997

Editor: So this is Ashley Bickerton’s “The Patron” from 1997. It’s made with oil and acrylic paint. It’s quite… jarring. It feels like a critique of wealth and privilege. How do you interpret this work? Curator: The "jarring" quality is precisely where the potency lies, isn't it? The figure, clearly meant to evoke power, is juxtaposed with symbols of both high and low culture, creating a dissonance that resonates. Do you see the significance of the trophy, Mondrian-like artwork, and the animal form at the bottom? Editor: The trophy could represent success and status, and the Mondrian piece screams 'high art', I guess. The animal… not so sure. It seems almost feral and grotesque compared to the other objects. Curator: Precisely! The feral creature lurking below serves as a psychological counterpoint. Perhaps it represents the uncivilized id lurking beneath the surface of refined society, a sort of Jungian shadow figure. It brings to question how cultural memory shapes our understanding of power and wealth. Does this resonate with your impression of the figure itself? Editor: Yes, it does. The figure itself seems deflated, not powerful. Maybe the artist is implying that wealth is a kind of performance, hiding something less refined underneath. Curator: Excellent observation. Bickerton seems to be pulling at threads connecting personal psychology and cultural symbols, exposing the raw elements beneath carefully constructed images. It invites the audience to contemplate these layered, symbolic meanings we’ve inherited. Editor: That's fascinating. I came in thinking this was simply an attack on wealth, but seeing the different layers of symbols makes it a lot more nuanced. Curator: It is about more than money. Through his symbolic layering, Bickerton asks us to question our own roles in perpetuating or challenging these images, doesn't he?