In his practice, Hammond often considers the ways in which art might be understood in relation to work (as in labour) and to not working (as in play, but also dysfunction or breakdown). He uses readily available materials—sometimes even his own existing works—as a set of resources with which to inventively assemble paintings that embody these interests. Though the results can be deliberately humorous, they also serve to relate some of the central preoccupations of modern art, with its self-proclaimed abstraction and 'progress', to real-world concerns: the conditions of contemporary work, the iconography of domestic chores and the 'improvements' wrought by city planning.
For this exhibition, The Hunterian has invited Hammond to select works from its collections that resonate with his artistic practice and works by Prunella Clough, Henri Gaudier-Breszka, and Carole Gibbons (among others), feature in the exhibition. His selections reveal the artist's commitment to the sheer pleasure of image-making and creative experimentation—qualities that can make all kinds of pictures 'work'.
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