Philip Eglin

Philip Eglin’s heady mix of classical reference and eclectic imagery dissembled within a rich ceramic palette creates figurative sculptures of striking resonance. Fecund nudes, Venuses and Madonnas are transposed to the present with imagery of dogs, lego pirates and photo-mechanical images of old master paintings. These allegorical surfaces create an eroticism which owes its debt to Cranach’s partial veiling of the naked female figure, but with nevertheless remain firmly placed within the ceramic idiom. The material richness of cobalt blues, watery colours, fragments of traditional border patterns, languid painting and shiny glazes make informed reference to ceramic history. Like Staffordshire figurines adopting Renaissance poses, Philip Elgin’s figures trail their hands in history, but have their eyes upon the future. He pushes the perimeters of Alison Britton’s essay from 1983 ‘Sevres with Krazy kat’ one stage further to create his own vision of ‘Titian in Legoland.’



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