1. Glen BAXTER
    Untitled, 2020
    Ink and pencil on paper
    79 x 53 cm

    Collection particulière
  2. Glen BAXTER
    Untitled, 2020
    Ink and pencil on paper
    79 x 53 cm
  3. Glen BAXTER
    Untitled, 2020
    Ink and pencil on paper
    79 x 53 cm
  4. Glen BAXTER
    Untitled, 2016
    Ink and pencil on paper
    79 x 53 cm
  5. Glen BAXTER
    Untitled, 2017
    Ink and pencil on paper
    79 x 53 cm
  6. Glen BAXTER
    Untitled, 2017
    Ink and pencil on paper
    79 x 53 cm
  7. Glen BAXTER
    Untitled, 2019
    Que sais-je ?
    Ink and pencil on paper
    78 x 56,5 cm
  8. Glen BAXTER
    Untitled, 2017
    Ink and pencil on paper
    79 x 53 cm
  9. Glen BAXTER
    Untitled, 2019
    Ink and pencil on paper
    79 x 53 cm
  10. Glen BAXTER
    Untitled, 2014
    Ink and pencil on paper
    79 x 53 cm / 31,10 x 20,86 in

    Collection particulière
  11. Glen BAXTER
    Untitled, 2016
    Ink and coloured pencil on paper
    79 x 53 cm
  12. Glen BAXTER
    Untitled, 2016
    Ink and pencil on paper
    31,10 x 20,86 in
  13. Glen BAXTER
    Untitled, 2016
    Ink and coloured pencil on paper
    79 x 53 cm
  14. Glen BAXTER
    Untitled, 2017
    Ink and coloured pencil on paper
    79 x 53 cm
  15. Glen BAXTER
    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
  16. Glen BAXTER
    Untitled, 2014
    Ink and pencil on paper
    79 x 38 cm / 31.10 x 14.96 in
  17. Glen BAXTER
    Untitled, 2018
    Ink and pencil on paper
    53 x 79 cm
  18. Glen BAXTER
    Untitled, 2018
    Ink and coloured pencil on paper
    53 x 79 cm
  19. Glen BAXTER
    We began to suspect that another budget family holiday might be on the horizon, 2016
    pencil and ink on paper
    27 x 38 cm
  20. Glen BAXTER
    Untitled, 2014
    Ink and pencil on paper
    79 x 38 cm / 31.10 x 14.96 in
  21. Glen BAXTER
    Untitled (Calder ou pas Calder, j'y vais!), 2018
    Ink and coloured pencil on paper
    38 x 27 cm
  22. Glen BAXTER
    Untitled, 2019
    Ink and pencil on paper
    38 x 27 cm

    Collection particulière
  23. Glen BAXTER
    Untitled, 2018
    Ink and coloured pencil on paper
    38 x 27 cm
  24. Glen BAXTER
    Untitled, 2019
    Ink and pencil on paper
    38 x 27 cm
  25. Glen BAXTER
    Untitled, 2019
    Ink and pencil on paper
    38 x 27 cm
  26. Glen BAXTER
    Untitled, 2019
    Ink and pencil on paper
    38 x 27 cm
  27. Glen BAXTER
    Untitled, 2018
    Ink and pencil on paper
    27 x 38 cm
  28. Glen BAXTER
    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
  29. Glen BAXTER
    "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
  30. Glen BAXTER
    "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.

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