Art Review
  Zavier Ellis, Hix , Cock & Bull Gallery
Zavier Ellis: A Visual Salute To Witchery And Street Discontentment - ArtLyst Article image

Zavier Ellis: A Visual Salute To Witchery And Street Discontentment

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Zavier Ellis presents the viewer with a contemporary ritual. The body of work acts as a salute to witchery and street discontentment. Pieces are made in an aim to translate the dark truths of society's religious and political ideologies. In the sight of the works on show, one can not stop but to think that certain visual aspects are reminiscent of the late Kurt Schwitters, whose works often blended several lines of storytelling, intending for a certain clarity of psycho political prospects. One can also recognise Rauschenberg's dark Pop aesthetic and explosive statements.

When standing in this bunker-like space, which is the Cock'n'Bull gallery, we are confronted with a noble wrestle between oneself and the common subconscious. The viewer is surrounded by hyper-realist 'Mad Popes', starring out with a dark glare, a series of three collaged canvases full of esoteric coding, a photo collage of a dark skinned NYC tube drifter holding a board with enigmatic writings and ultimately a monumental Abstract work with a Grand composition that presents us with the allegorical ghost of the western world.

In essence, the deep subverted meaning of this body of work is intricately linked to the being and embracing of Madness, the given Exit to this living Super Religious turmoil. Zavier presents the viewer with a research into Madness, most often subdued into the religious purpose. The concept of Reason, as linked to the mind is no longer acknowledged and becomes a hazy concept. Zavier Ellis' works tame a certain fear linked to a search for truth. The artist becomes a Pope of the mind and appears like a Master of all fears.

Zavier Ellis Type 1 Zealotry :Cock ‘n’ Bull Gallery Tramshed, London, Ends 25-07-2014

Words: Marie-Claudine Llamas Photo: Edward Lucie-Smith stands in front of Zavier Ellis 'The End of Days', 2014 by Paul Carter Robinson © Artlyst 2014

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