Charlotte

1996

The experience of this work is a ‘perceptual surprise’ characteristic of Fox’s work and also an invitation to think through issues of commodity, function and volition. Through the simplest of gestures or, from the clearest of transitions: horizontal to vertical, a form and its associated meanings and values is once again, thrown into a poetic crisis and consequent fertility.

The Suzuki Sierra is suspended nose to ceiling, striping it not only of its function but also its advertised macho. The vehicle, lifted from its purpose, resonates as sculptural form, inanimate and isolated. However, the conceptual premise of Charlotte runs deeper than mere modernist quotation. Fox mollifies his background through this interventionist act, exposing to the world his 21st birthday present from his parents. The displacement of the weight of the vehicle is consistent with the weight lifted from his shoulders – the pressures of family expectations. Charlotte provides a cathartic release, painting a portrait of self for all to scrutinise.

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