Born 1988 in Kojonup, Western Australia
Lives and works in Melbourne
George Egerton-Warburton’s work encompasses sound, smell, text, readymade objects, kinetic sculpture and painting.
Recent solo exhibitions include ‘,’ at Heide Museum of Modern Art, Melbourne (2019) and Penal Café at Shoot the Lobster, New York (2019). His work has been included in group exhibitions both in Australia and internationally, including at TarraWarra Museum of Art; Australian Centre for Contemporary Art, Melbourne; UNSW Galleries, Sydney; Monash University Museum of Art, Melbourne; and the National Gallery of Victoria, Melbourne.
Raw Factory / Drugs / Echo no no no me, 2017-21
artist-framed mosaic (94 x 124 cm), found video, fountain (Schabens super foam concentrate, Tracer hot pink foam dye, truffle oil, plastic, air compressor, water), pond liner and metal fence
Courtesy the artist and Sutton Gallery, Melbourne
George Egerton-Warburton’s Raw Factory / Drugs / Echo no no no me (2017– 21) is a mixed-media installation engaging sight, smell and sound.
A reprisal of an earlier work, Paddock Addiction (2017), previously shown at Los Angeles gallery Château Shatto, the work centres around a handmade fountain joyously spurting forth pink foam. Despite its alluring bright colour, the substance signifies the highly toxic agricultural crop marker used to demarcate an area where pesticide has been sprayed. A reference to the agricultural histories of both the cities of Perth and Los Angeles, the fountain is also suggestive of the chemical dopamine, issuing ‘hits’ to the brain.
Raw Factory / Drugs / Echo no no no me also includes a mosaic depicting the black swan synonymous with Western Australia – a nod to DIY craft-practices, including the method used to construct Los Angeles’ iconic Watts Towers – as well as found video footage. Here shown collectively as a cohesive installation, hierarchical distinctions between art, craft, industrial, handmade and found objects are intentionally broken down.