Hamish Pearch, Pingers, 2014, Courtesy of the artis

Hamish Pearch

b. 1993, London

2012-2015 BA Fine Art Sculpture, Camberwell College of Arts, London

Recent Exhibitions 

Group shows:
2014 ‘Reely and Truly’, Crunch Studios, London
2014 ‘Unit’, Dilston Grove, London 
2013 ‘3 x 3 x 3’, The Bear, London

Artist’s Statement

I am interested in the lexicon of youth sub-cultures and activities pursued by those groups, many of which I am a part of and am in conflict with. The groups are particularly concerned with aspects of constructing and competing for a truth and displaying it through collected objects and images (badges, clothing items, posters, graffiti). The pursuit of truth has perplexed great thinkers, scientists, explorers and artists. This has led to important discoveries, inspirational thoughts and technological progress, yet crucially, it has also led to the creation of alternative systems of belief that compromise human intellect.

I aim to explore how male psychology and post-feminist ideology are represented, parodied and defined in cultural artefacts and popular culture. I am interested in how male roles in society are constructed and how a recent white male crisis narrative has entered the popular imagination. I am particularly concerned with the simplification and misrepresentation of both individuals and groups. There is a suggestion of extended childhood present in Western culture; men become roguish ‘lads’, scorning sensitivity and adopting an anti-intellectualist position. However, it would be foolish to assume that ‘lad’ behaviour lacks core truths. For example, authorities and people who comment on football violence often seem to suggest it is meaningless, but they fail to see that the fans involved in the action are deeply concerned with fundamental ideas relating to territoriality, being able to look after oneself, and the stress of masculinity. The result is a seemingly tribal environment, a battlefield of conflicting truths. In the end, much of the attitude portrayed appears ironic, one-dimensional or farcical and proposes man as brutish and on his way to extinction.

The behavioural traits associated with the myth of the male crisis are riddled with paradoxes and absurdities and are imbued with tragicomic characteristics. I am interested in the liminal point between surface jokes and something darker, perhaps even misogynistic. It is a territory that I sit within, as a straight, young, white male, fanatical about football. It is chaotic fractures and contradictions present within myself, and society at large, which has driven my interrogation forward. The scale of the objects are important, as I’m interested in their ability to hold, compress or show space. I want to try and corrupt the seemingly muscular language of specific objects. I am also aware of the traditional ‘male’ aspects of creating objects and the skill set involved. Pencil marks refer to a specific aesthetic of adolescence, born of zeal and obsessiveness that usurps objects indiscriminately.