The early ideas behind Ashley’s ‘Silver Ladies’ series may have first emerged in the seminal 1996 work ‘All That I Can Be: Triple Self Portrait’ (in the permanent collection of the Whitney Museum, New York) before eventually evolving into the body of work forming his 2014 show ‘Junk Anthropologies’. These heads are Ashley’s attempt to merge an ‘upended’ Cubism with traditional portraiture, creating a “brilliantly balanced, perfectly calibrated critique of beauty, sexuality, tribalism, modernity, and a bitterly aware, almost hopeless urban lust for the unattainably exotic.”
Rising to prominence in New York’s East Village scene in the early 1980s, Ashley Bickerton spearheaded an alternative art movement alongside Jeff Koons, Peter Halley, and Meyer Vaisman, heralding a new style of geometric painting that rebelled against Neo-Expressionist trends. In 1993, Bickerton left New York and moved to Bali, Indonesia, where he lives and works today, having observed and experienced radical changes on the island over the last 30 years. Bickerton’s work explores the fantasy of a tropical island paradise and its reality as a de-cultured touristic locale that has been reconstructed to feed the westernized paradise ideal. Bickerton’s work has featured at the 1989 Whitney Biennial and the 44th Venice Biennale (1990), as well as in the public collections of MoMA, New York; the Whitney Museum of American Art; and Tate Britain, London, amongst others.
Oil on canvas with artist made frame
169 x 156 x 8.5 cm