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With extravagant flourishes and gestures, Andrew Gilbert grapples with the familiar images of British colonial history. And with the less familiar: Hindu Kush, Zulu Wars, Amritsar.
The artist identifies with both the colonial troops of the British Empire and with their victims or enemies.
Nevertheless, by carelessly slipping into the historical uniform of the day, he also adjusts the history of imperialism. In his hyperbolically warmongering, inhumanely cruel, sometimes grotesquely exaggerated escapades of drawings, this type of "adjustment", however, enables us to focus our attention on the hitherto subdued madness and perversion of war and art.
The artist identifies with both the colonial troops of the British Empire and with their victims or enemies.
Nevertheless, by carelessly slipping into the historical uniform of the day, he also adjusts the history of imperialism. In his hyperbolically warmongering, inhumanely cruel, sometimes grotesquely exaggerated escapades of drawings, this type of "adjustment", however, enables us to focus our attention on the hitherto subdued madness and perversion of war and art.