Duggie Fields's dayglo post-pop paintings are instantly recognizable. Despite his concern with the identity-dissolving impact of mass media on the contemporary psyche, Fields manages to sustain a coherent signature style that is as flamboyantly dysfunctional as it is cool and simple. Applying overdriven colour and stripped down cartoon-ish drawing to produce mutant variations on classical poses and genres, Fields' work scrambles categories, freaked out and flatline, delirious and deadpan all at once.
Combining elements from disparate cultural and historical vocabularies, Fields' paintings look like stained glass windows for some cathedral of modern Media. The artist's manic imagination throws up deranged icon paintings, casual violence erupting out of ritual and kitsch. Promiscuous and dangerously volatile, Field's multiverse is a place where ballroom dancing and comic book mutilation intersect. Nothing in Western culture is safe from Fields, for as the artist argues in his 'MAXIMALism' manifesto of 1995, digital media has rendered history part of a continuous present.
I'VE BEEN THERE BEFORE - DUGGIE FIELDS
BUT I DIDN'T DO THAT - DUGGIE FIELDS
WELCOME TO MY WORLD
JOURNEY THROUGH TIME