Eddie Peake

Born in 1981, he graduated from the Royal College of Art in 2013 and made newspaper headlines in his sophomore year for holding a "nude soccer match". In a few short years, he exhibited his work at the Tate Modern and the White Cube, and later had solo exhibitions in major galleries around the world.

A Single Squiggly Line With Two Female Torsos, 2015 Lacquered spray paint on polished stainless steel 39 2/5 × 55 1/10 × 2 in; 100 × 140 × 5 cm

"I grew up in an environment of contemporary art, and I always found galleries and museums to be boring. But I have a sense of responsibility. For example, when I was 17 years old, I painted a still life that I was quite satisfied with. I suddenly realized that I can do what I like, and this is the value of my existence. So I'm going to keep doing what I like."
--Eddie Peake

Autoritratto Sei, 2018 Oil on board 15 7/10 × 11 4/5 × 1 in; 40 × 30 × 2.5 cm

Born in London, Peake has also lived in Jerusalem and Rome. The inevitable absence and deviation of meaning in the transfer of verbal and non-verbal modes of communication constitute the focus of Pick's work. And in his most recent work, he undertakes an autobiographical artistic presentation, thus testing the perception of me, by taking " desire", " body", " architecture" and "cityscape" as the latest themes of his work.
With Pique's "naked soccer game" in the headlines, Pique has also seen a lot of negative comments. Whether it's negative or positive, getting comments is the best proof that a newspaper has earned the attention of its readers. But these comments, so Pique fell into a long period of pain, but he still did not give up the soccer thing.

This Curve Though 2015 Lacquered spray paint on polished stainless steel 39 3/8 × 27 9/16 in. (100 × 70 cm)

For his exhibition at White Cube's South Galleries, Bermondsey, London, Pique has named his show "Concrete Pitch," inspired by the exposed concrete recreation square in London's Finsbury The name was inspired by the exposed concrete recreation square in London's Finsbury Park, where Pique grew up playing. This concrete square is a playground, a sports field and a place for people of any age, any class, any race and any place to meet and chat on dates.
"Before, I didn't think of the graffiti, soccer and dancing I loved as part of the arts. But then I reacted and I want all of those things in my life to be in my art." Peake says, "I love soccer, and the project I did my sophomore year wasn't the first time I put soccer into my art. Soccer has become a theme in my art."

Romance & Cigarettes, 2017Spray paint on canvas78 7/10 × 122 × 1 3/5 in; 200 × 310 × 4 cm

For Peake, the artworks he creates can be defined as articulations of the history of painting and object making, as well as narratives about dance and the performing arts. The art museum, on the other hand, is a stage, a place where he can perform his carefully orchestrated daily life and show his childhood. At the same time, an art museum can be a microcosm of a city and the culture of a diverse society.
"I grew up in an environment of contemporary art, and I always found art museums and museums boring. But I have a sense of responsibility. For example, when I was 17 years old, I painted a still life that I was quite satisfied with. I suddenly realized that I can do what I like, and this is the value of my existence. So I'm going to keep doing what I like." Peake said.

Giving Herself A Caesarian Section 7 2012 Spray paint on canvas 78 3/4 × 78 3/4 in. (200 × 200 cm)

Tangling In Hair 2013 Two black and white posters and three oil on wood paintings Overall dimensions: 42 15/16 × 94 7/8 × 1 in. (109 × 241 × 2.5 cm)

Molten Lava Death 2013 Lacquered spray paint on polished stainless steel 39 3/8 × 27 9/16 in. (100 × 70 cm)

Picker likes to work with people, but he doesn't want a collaboration with a clear division of labor. He believes that collaboration is when people work together on something that is of common interest. "Take soup and sandwiches, we can see the different layers, like the cheese is mine, the lettuce is another person's, the tomatoes are another person's, and that's not collaboration. It's all going to be like a pot of soup where you can't tell what these individual people's contributions are. That's the kind of collaboration I want." Peake said.

Ingests The Throat Wrenching Gravity Of. 2013 Duration: 6 minutes (silent)

A new large-scale sound installation, Stroud Green Road, has been constructed for Pick's remembered path through the exhibition site, with steel tables arranged in a serpentine pattern. On the palletized surface of the tables are a series of objects - small sculptures and objects from the Stroud Green Road store - paired with speakers that emit muffled sounds, such as shaking vibrations and clicks and clatters. Peake used these distorted effects and field recordings from various locations to create a continuous, echoing buzz, creating an abstract sound environment. At the same time, a soft pink color was used to cover the entire exhibition space.

Erasmus Is Elodie Is Terrence Is Molly 2013 Acrylic and oil on canvas 70 7/8 × 55 1/8 in. (180 × 140 cm)

The theme of Pico's self-awareness continues to be expressed through constant exposure and concealment. A light white curtain hangs from the ceiling, creating a natural spiral passage; in the center, a split-screen projection shows four dancers, each locked in an individually cycled complex dance sequence, performing carefully choreographed dance movements. This notion of circularity is a key theme in Peake's work, embodied in these repetitive movements. In the rituals that occur in life, Peake then observes the structure of sound and the music played by Kool's DJs. For Peake, these installations reflect the confusion caused by thoughts or behaviors associated with compulsion, obsession and depression.

Roma, 2017 Acrylic and spray paint on canvas 78 7/10 × 122 × 1 3/5 in; 200 × 310 × 4 cm

"In my life, depression seems to be a big deal. Depression seems to be the core of one's existence, and work, life, including the trials and tribulations one goes through on a daily basis are just the skin of that core. I hope that through my work I can make people feel some kind of empathy so that they can escape a kind of inner dilemma." Peake says, "The whole Brexit thing also made me feel confused and I didn't know how to proceed next, and it made me start to disbelieve things that I thought were true."
In addition to the domination of the show and the space, a lot of time and effort went into the selection of the dancers and the making of the sculptures, and the more tedious and confused he felt, the more he tried to force himself to do everything to the best of his ability in this tense, struggling state. "I had to write at least 10 emails to every dancer, and talk to every maker who made the sculpture about every idea I had, and I even had to write to every person running around the stadium, and I told them what kind of a show I wanted. All of this drove me crazy."

Innocently Wears A Bikini 2015 Painted and lacquered acrylic with hand knitted mohair scarves 29 1/2 × 14 7/16 × 13/16 in. (75 × 36.7 × 2 cm) and 27 5/16 × 18 7/16 × 0 13/16 in. (69.4 × 46.9 × 2 cm)

And in his latest series of paintings, he uses layering and masking techniques to create vivid abstractions on canvas or hard stainless steel panels. This group of overlapping, spray-painted paintings harkens back to collage posters in the city. Roma (2017) creates a multi-dimensional three-dimensional space, showing the overlapping of multiple scenes, rendering a cheerful atmosphere with bright colors, yet expressing inner sad memories with a few unexplained lines.
In another group of paintings, the graffiti-like markings then form a bright exhibition space. Portal (2017) and Patient (2017) are his explorations of emptiness, striving to bring back a sense of memory, possibly still an uncomfortable frustration and sadness, to the viewer by virtue of multiple elements combined into a blank space, or using unfinished works.

STEAM ROLLED BODYScreenprint on 1989 Vogue Paris magazine pages, framed in a stained sapele box frame. Accompanied by a certificate of authenticity and a frame label signed by the artist.14×11 1/5×1 in; 35.6×28.4×2.5cm Edition of 100

And in the oil painting A More Uncomfortable And Realistic History , 2017, it is a head shape outlined in rainbow-colored words. Painted with several cryptic slogans: "A More Uncomfortable And Realistic History," "We walk on the slope and give up our rights and energy." These works are direct allusions to the bluntness and anger that graffiti art, social media and urban pop music have always displayed. These are, of course, the same styles that can be found in Pick's previous work.

Triple Selfie 2016 Screen print and oil on canvas with spray painted aluminium tray frame 78 3/4 × 47 1/4 in. (200 × 120 cm) 79 3/4 × 48 1/16 × 1 9/16 in. (202.5 × 122 × 3.9 cm) (framed)

Self Harm, 2013 Powder coating and spray paint on polished stainless steel 39 1/5 × 27 3/5 × 2 in; 99.6 × 70 × 5 cm

"In my work, there is usually a quest for identity. I think that's the wonderful thing about being an artist. Because you can create a space for yourself to be a separate person in the world." Peake says, "There are a lot of artists who do art in a brilliant way. If there is a painter who goes to his studio every day to paint cars, how does he work out the ideas in his head that have nothing to do with cars? When he thinks, what does he look at? What would he do? Suppose a deer riding a sheep, waving a lasso over his head, appears in his mind? Maybe that's the imagination, that's the beauty of thinking, that's the value of what art should present."

Two Ladies Feeling Themselves And Knowing Everyone Else Is Feeling Them Too 2015 Lacquered spray paint on canvas 43 7/8 × 55 1/8 in. (111.5 × 140 cm)

Handschmeichler 23 (Water On Mars) 2015 Plaster and scrim armature 9 7/16 × 24 7/16 × 19 11/16 in. (24 × 62 × 50 cm)

The Other Languages, Nefarious, 2013 Spray paint on Royal Academy plastic bag