Christopher Mayer’s recent works act out symbolic syntactic landscapes where the banal meets slapstick implications. A sublime, ludicrous misalignment of semiotic readings that opens up polyphonic spheres of interpretation; heterogeneous elements meet, forming larger entities that in themselves are equivocal and imbued with ambiguity. Objects are arranged seemingly without connection, negating the possibilities of narrative impulse. The paintings are both deadpan and uncanny, echoing the surrealism of a Monty Python sketch or the banality of a low-budget music video. Through the placement of forms they open up compositions of linguistic intention. They talk of the semiotics of language, presenting an equation for understanding that remains unhelpfully vague. The paintings’ pluralism of reference forces the viewer to access a shared mental rolodex of visual tropes. The work exists within a theoretical framework and concrete critical discussion, however remains open to humour and whimsy; not delivered through a dry visual discussion, but through an analytic rendering of metaphor and allusion, and an obvious delight in the subjective fun of language; its openness to possibility and its mutability of use.
Christopher Mayer graduated with a BA in Fine Art Painting from Wimbledon College of Art, during which he was awarded the Erasmus travel scheme and studied at the Academy of Fine Art Vienna, under the professorships’ of Daniel Richter and Erwin Bohatsch. His work is represented in public and private collections including Landmark PLC, and the Octavia Hill society. He has taken part in numerous group shows and had his first solo exhibition ‘All Titles Are Up in the Air’ at Husk, curated by Juan Bolivar in November 2013.