Anthony Earnshaw: Surrealist Artist and writer, painter, box-maker, cartoonist and witty Satirist

In the mid 1960's a group of playwrights, notably Ionesco, Arrabel and in this country N.F.Simpson were lumped together as Absurdists. No such label has been applied to art, but if it were Anthony Earnshaw would surely be in that camp.

Earnshaws off-beat swipe at the world is informed by a commitment to the tenets of Surrealism and his anarchistic principles. This northern recluse seldom exhibits in London but this show offers a rare opportunity to see an extensive collection of his boxed assemblages as well as his Secret Alphabet prints.

Born of a poetic sensibility this work confronts us with a contradictory mix of humour and anger. It is as the artist is at odds with society wants to criticise it and yet be accepted by it at the same time. In Be Prepared Earnshaw's crazy logic introduces a plug and chain, barbered wire, a birthday-cake candle and other items to a Swiss army knife. The techniques of collage are at play here through disparate juxtaposition. As we look at The Faithful Servant, a thermometer beautifully mounted in a box, we become aware of a disconcerting ticking sound. By colliding different sources of information our sense of reality becomes fractured but despite this the wit remains at a level of day-to-day experience. A stuffed toy Mickey Mouse hides behind a mouse hole in a piece of skirting board. He is drinking from his own cup, another merchandising spin-off. Outside a baited mousetrap waits for its victim. We are in the Slums of Disneyland Where Children Never Go. The displacement of energy examined by Newton's Cradle is reworked in Newton's Second Childhood by using Christmas baubles. More recently beach combing has stimulated Earnshaw's imagination as he scours the sands at Saltburn to see if any Surrealism has been washed up by the tide.

Les Coleman


	Anthony Earnshaw articles on two exhibitions



	by Les Coleman

	Reviews for the Time Out (not published)

	Fouts & Fowler Gallery 11th November - 4th December (19?)

	In the mid 1960's a group of playwrights, notably Ionesco, Arrabel and in this country N.F.Simpson were lumped together as Absurdists. No such label has been applied to art, but if it were Anthony Earnshaw would surely be in that camp. Earnshaws off-beat swipe at the world is informed by a commitment to the tenets of Surrealism and his anarchistic principles. This northern recluse seldom exhibits in London but this show offers a rare opportunity to see an extensive collection of his boxed assemblages as well as his Secret Alphabet prints. Born of a poetic sensibility this work confronts us with a contradictory mix of humour and anger. It is as the artist is at odds with society wants to criticise it and yet be accepted by it at the same time. In Be Prepared Earnshaw's crazy logic introduces a plug and chain, barbered wire, a birthday-cake candle and other items to a Swiss army knife. The techniques of collage are at play here through disparate juxtaposition. As we look at The Faithful Servant, a thermometer beautifully mounted in a box, we become aware of a disconcerting ticking sound. By colliding different sources of information our sense of reality becomes fractured but despite this the wit remains at a level of day-to-day experience. A stuffed toy Mickey Mouse hides behind a mouse hole in a piece of skirting board. He is drinking from his own cup, another merchandising spin-off. Outside a baited mousetrap waits for its victim. We are in the Slums of Disneyland Where Children Never Go. The displacement of energy examined by Newton's Cradle is reworked in Newton's Second Childhood by using Christmas baubles. More recently beach combing has stimulated Earnshaw's imagination as he scours the sands at Saltburn to see if any Surrealism has been washed up by the tide. Les Coleman

	Flowers East at London Fields 15th July - 12th August (19?)

	In the 1960's a group of playwrights, notably Ionesco, Arrabel, Vian and in this country N.F.Simpson, were lumped together under the banner of Absurdists. No such label has been attached to art, but if it were Anthony Earnshaw would surely be in that camp. Earnshaws unique view of the world is informed by a commitment to the tenets of Surrealism, acknowledgment and homage's to Man Ray, Ernst, Magritte and Mesens, and his anarchistic sympathy's. But the only bombs this retiring northerner hurls are his boxed assemblages and drawings. Born of a poetic sensibility these works confront us with a cocktail of black humour, perversity and anger. Here is an artist at odds with many of society's values, including those of the 'official art world', yet fighting for recognition within that society. Earnshaw's wit requires that we reed between the lines. In Be Prepared his crazy logic attaches a plug and chain, barbered wire, birthday-cake candle, feather and jig-saw puzzle piece to a Swiss army knife. The technique of collage is a play here through disparate juxtaposition as this multi-purpose tool is elevated to the realms of absurdity. A mouse lives in a loaf of bread while a trap, baited with cheese, sits invitingly outside mouse's home. It is called Earnshaw's Pantry. The displacement of energy examined by Newton's Cradle is reworked in Newton's Second Childhood by the introduction of Christmas baubles. For sheer brilliance and inspired madness 142 Ballerines Jitterbuging is hard to beat. One hundred and forty two ballerines have been cramped into a box with the odd saxophone thrown in for good measure. Earnshaw's voice needs to been seen. Les Coleman
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