An artist whose playfulness both amuses and baffles us,
who takes the everyday apart to put it back in ways you never thought of,
Martin Creed is one artist we turn to when we need to be reminded that art is as much about nothing as it is about everything.
So with air filled with balloons,
works that are in all honesty described as ‘A door opening and closing and a light going on and off‘,
with cacti arranged in a logic that only man can give nature,
and a piano that plays no symphonies but where the human hands of an enlisted gallery assistant play the chromatic scales one note at a time…
Everything about Creed’s work shouts ‘does what it says on the box’.
but in a way that forces us to observe how trite our thought processes are,
and how quickly we follow what the majority of society thinks, does and expects,
because that way life becomes easier,
and quicker to the top.
Martin Creed’s current exhibition at Hayward Gallery is aptly titled – What’s the point of it?
It gave us a chance to refresh and to stop expecting to ‘get’ each work just because we ‘see’ so much art.
We were humbled by the sapient simplicity of Creed’s work – nothing is as complex as you think it ought to be, yet he never fails to hit the nail on the head, right through the wall.
For more on Martin Creed, read here.
And we cannot fail to mention that if there ever was a work we loved and would want to possess, it would be Creed’s Work No. 850 that featured people running as fast as they could across the Duveen Galleries at Tate Britain in 2008. We’ve been looking for ways to gush about this work since the first day we started Beanstories – in all secrets revealed, this hits our spot.