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Untitled, 2020
Ink and pencil on paper
79 x 53 cm
Collection particulière -
Untitled, 2020
Ink and pencil on paper
79 x 53 cm
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Untitled, 2020
Ink and pencil on paper
79 x 53 cm
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Untitled, 2016
Ink and pencil on paper
79 x 53 cm
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Untitled, 2017
Ink and pencil on paper
79 x 53 cm
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Untitled, 2017
Ink and pencil on paper
79 x 53 cm
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Untitled, 2019
Que sais-je ?
Ink and pencil on paper
78 x 56,5 cm
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Untitled, 2017
Ink and pencil on paper
79 x 53 cm
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Untitled, 2019
Ink and pencil on paper
79 x 53 cm
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Untitled, 2014
Ink and pencil on paper
79 x 53 cm / 31,10 x 20,86 in
Collection particulière -
Untitled, 2016
Ink and coloured pencil on paper
79 x 53 cm
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Untitled, 2016
Ink and pencil on paper
31,10 x 20,86 in
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Untitled, 2016
Ink and coloured pencil on paper
79 x 53 cm
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Untitled, 2017
Ink and coloured pencil on paper
79 x 53 cm
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It was at Chaundley camp where I first learned to set fire to my own kneecaps, 2016
pencil and ink on paper
53 x 79 cm
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Untitled, 2014
Ink and pencil on paper
79 x 38 cm / 31.10 x 14.96 in
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Untitled, 2018
Ink and pencil on paper
53 x 79 cm
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Untitled, 2018
Ink and coloured pencil on paper
53 x 79 cm
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We began to suspect that another budget family holiday might be on the horizon, 2016
pencil and ink on paper
27 x 38 cm
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Untitled, 2014
Ink and pencil on paper
79 x 38 cm / 31.10 x 14.96 in
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Untitled (Calder ou pas Calder, j'y vais!), 2018
Ink and coloured pencil on paper
38 x 27 cm
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Untitled, 2019
Ink and pencil on paper
38 x 27 cm
Collection particulière -
Untitled, 2018
Ink and coloured pencil on paper
38 x 27 cm
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Untitled, 2019
Ink and pencil on paper
38 x 27 cm
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Untitled, 2019
Ink and pencil on paper
38 x 27 cm
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Untitled, 2019
Ink and pencil on paper
38 x 27 cm
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Untitled, 2018
Ink and pencil on paper
27 x 38 cm
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Il nous arrivait de penser que père nous aimait autant que sa Renault, 2007
Ink and pencil on paper
27 x 38 cm / 10.62 x 14.96 in
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"We had to do it, Sheriff, he was quoting T.S. Eliot...", 2013
Ink and pencil on paper
27 x 38 cm / 10.62 x 14.96 in
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"Les gars, pas de groupe de lecture de Michel Houellebecq ici, au ranch des Chiens Noirs ! " Annonça le bibliothécaire, 2008
Ink and pencil on paper
27 x 38 cm / 10.62 x 14.96 in
Public collection
Arts Councill of Great Britain (UK)
Centre Georges Pompidou, Paris (FR)
Chase Manhattan Bank New York (USA)
De Young Museum, San Francisco (USA)
FNAC – Fond National d’Art Contemporain (FR)
FRAC Poitou-Charentes (FR)
FRAC Picardie (FR)
New York Public Library (USA)
Southampton University (UK)
Tate Gallery, London (UK)
Victoria & Albert Museum, London (UK)
Introduction
Popular for his surreal and absurd narrative drawings, it is after having discovered Surrealism and Dadaism (de Chirico, Picabia, Magritte, Ernst, Beckett, Roussel...) that Glen Baxter developed an appetence for non-sense, the incongruous, irony. He adorns his drawings with comments to achieve a discrepancy, a common incongruity between the text and the image, creating an intense connection between language and its sounds. The burlesque of the depicted situation is answered by the grotesque of a commentary expressed in the most serious way in the world.
“The surrealists used to call it the ‘frisson’, this sudden impression that the ground opens up, that we went too fast, that we were mistaken. (…) It’s a fleeting but very strong sensation, as if the mind momentarily lost balance. Exactly what I’m trying to have those looking at my drawings feel. I’ve always loved these hitches in reality, these slight dizzy spells.” Glen Baxter in Stéphane Jarno, «Les dadas du Colonel», Télérama n° 3077, 2009
Major exhibitions of Glen Baxter’s drawings and paintings have been held in New York, London, San Francisco, Munich, Tokyo, Sydney and Paris where his work have been regularly exhibited (Galerie Martine et Thibault de La Châtre). His work is in the collections of the Tate Gallery and V&A Museum in London as well as in museums and private collections around the world. Glen Baxter is the author of numerous books, published in English and French (Edition Hoëbeke). His publications in magazines includes The New Yorker, The Independent on Sunday, Vanity Fair, Le Monde…
Born in Leeds (GB) in 1944, Glen Baxter lives and works in London.
