![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/WhatsApp-Image-2020-12-11-at-12.38.44-528x422-1.jpeg\")
Bickerton completed his studies in 1982 at the California Institute of the Arts, then moved to New York to take part in the Whitney Independent Study Program. He shot up to prominence as part of the so-called \u2018Fab Four\u2019, a group consisting of Jeff Koons, Peter Halley, and Meyer Vaisman. Their show at Sonnabend Gallery, in 1985, was hailed by many as the beginning of the Neo-Geo movement. The art critic Roberta Smith, reviewing the show in the New York Times, suggests it heralds \u201cthe return of an art that is certifiably American and firmly rooted in the Pop-Minimal-Conceptual tradition. It clearly replaces Neo-Expressionist excess with cool calculation\u2026[and] a bumptious, youthful aggressiveness.\u201d<\/p>\n\n\n\n
When applied to him, however, Bickerton has always thought the appellation \u2018Neo-Geo\u2019 misleading. He explains, \u201cWe were put together\u2026[art dealer] Jeffrey Deitch invented that term.\u201d For him, the unwelcome tag reflects neither his creative vocabulary then, nor his immediate personal affiliations. Conceptually, only Halley was truly Neo-Geo in his exploration of geometric forms and structures. The moniker, moreover, fails to represent Bickerton\u2019s circle at the time accurately: \u201cI was actually much closer to a lot of younger artists because I, myself, was younger, but I\u2019d gotten stuck with the Sonnabend grouping.\u201d A plethora of other labels materialized to describe the supposed movement, from Simulationism to Neo-Conceptualism; from Post-Abstract Abstraction to Smart Art. Perhaps, the most descriptive of these terms in elucidating Bickerton\u2019s early output is Commodity Art.<\/p>\n\n\n\n His commodity-related works are often box-like pieces, strapped with buckles and brackets. Many of them are covered with an array of consumer logos and symbols, created painstakingly by hand, but so as to look mass-produced. In effect, these art objects are presented\u00a0\u00e0\u00a0la Warhol in a manner that recalls consumer goods. Among them are works branded \u2018Susie\u2019, which mimic how the trophies of ostentatious consumption are trademarked with luxury branding. Early Bickerton is an irreverent meditation on the interface between art, commodity culture and consumerism. It touches upon our impulse to name and valorise. Although the artist flirts with meanings, he seems happiest sitting on the fence, listening in on his crowd\u2019s inferences and, maybe, laughing a little. In these different layers of communication, some might like to see cool irony or a witty tease; others may find a detached critique of consumer culture and capitalism. One intriguing layer is characterised by art historian Abigail Solomon-Godeau as being \u201cthe central role of fetishism or, alternatively, the insistence on the fetish character of the artwork\u201d. The artist calls this his \u201ciconisation\u201d of consumer products, his way of investing a kind of apotheosis to the materialist spirituality of America.<\/p>\n\n\n\n As first proposed by Karl Marx, one might look at commodity fetishization as spirituality in a materialist, capitalist guise, perhaps with America as its heartland. If so, the unveiling of a commodity good could be seen as almost a sacred ritual in an otherwise mundane existence. Are such occasions America\u2019s moments of high mystery? Bickerton implies so: \u201csomething arrives in a box, and you open it, and take it out, and before it\u2019s put to use, before it becomes something utilitarian and gets scratched up or used, it\u2019s just this perfect thing.\u201d This unboxing \u2013 the unveiling \u2013 is something akin to the moment when, in a Hindu temple, the doors of the Holy of Holies are flung open to reveal the idol within. Any kind of fetishization demands the suspension of reason and the projection of meaning onto an object. Any act of naming calls for a momentary pause, however temporary, in the unceasing flux of meanings around us. At the same time, all theories aside, there is a visceral, childlike joy in actually suspending thought and time: in distilling a moment of perfection in even the most humdrum of manufactured commodities \u2013 fetish pleasure, perhaps, but not without a quality of spirituality. Bickerton\u2019s commodity art pokes fun at the artificial nature of cultural production, all the while illuminating the very human impulse to name and create meanings.<\/p>\n\n\n\n Unless seen as a cultural critique, the artist\u2019s move to Bali in 1993 seems to be a world away from this discussion. By then, he had become increasingly disenchanted with the fashions and politics of New York\u2019s art world or, in his own words, its \u201cdifferent degrees of fawning\u201d. Moreover, as an artist, he was no longer in vogue. Bickerton could probably have worked his way back into the good graces of the fickle market. After all, he had been offered the enviable platform of a full-time teaching position at Harvard University which, to the chagrin of his academic parents, he ended up turning down. He reasons: \u201cI was always a surfer; and I\u2019d given it up to pursue art. So, I just figured, screw that! I\u2019m not going to hang out here.\u201d As a matter of fact, having grown up and lived by the sea for most of his life, his twelve years in New York were something of a wintry, geographic aberration. Now, a different vision of life beckoned. He envisioned more familiar, tropical surroundings \u2013 a place far away from the din of New York\u2019s art scene, where he could dedicate himself to his twin passions of art and surfing.<\/p>\n\n\n\n Thirty years on, we are wading through the island waters of his chosen home grounds. The Indonesian island of Bali, he clarifies, \u201cis a huge part of the surfing world with some of the best waves anywhere.\u201d Knee-deep in the sea, he is leading me along a rocky promontory, just off Balangan beach. Banyan-covered limestone cliffs rise up above us until we end up in a grotto, overlooking the Indian ocean. Here, the artist married his fourth and current wife, Cherry, a bright, young Balinese eco-entrepreneur. \u201cIt\u2019s my temple,\u201d he professes, \u201ca point of alignment.\u201d From surfing mecca to the wedded contentment of home life, the deep connection he feels to the sea here is palpable: \u201cI don\u2019t really believe in too much outside of the realms\u2026of empirical reality, but right after we got married\u2026while trying to paddle out to surf on a big day, a wave washed my feet out from underneath me, and then I hit the reef and tried holding on as the wave washed me back. It tore both my wedding and engagement rings clean off!\u201d<\/p>\n\n\n\n The conventional reading of Bickerton\u2019s career sees his expatriation as a profound change of direction in his conceptual trajectory. The art critic Calvin Tomkins, writing in the New Yorker in 2007, goes so far as to claim that Bickerton \u201cdropped out of the art world\u201d. A succession of clich\u00e9s come to mind, of escapism, of his supposed life as a privileged, expatriate artist on a tropical island paradise, in short of a latter-day Gaugin. In a similar vein, but with an attempt at empathy, the writer Paul Theroux speaks of Bickerton as \u201ca connoisseur of not belonging\u201d. For Theroux, expatriates like himself and Bickerton, \u201ctravel from culture to culture\u2026from one preposterous belief system to another, always teetering just outside it. The challenge of their quest, and their entanglement, is how to represent this profusion of images and beliefs\u2026and more than that, the mass of tactile sensations and smells\u2026the world as wreckage\u201d \u2013 both victors and victims of rootless globalisation.<\/p>\n\n\n\n On the surface, the visual vocabulary of Bickerton\u2019s works in Bali certainly departed from their commodity art antecedents. There was a notable shift towards figuration with extravagant, salacious references to Gauginesque life on an island-paradise. At one level, it is the artist\u2019s playful response to other people\u2019s acts of naming, of him as Gaugin-like, of migration as escapism. He himself looks with disdain at exoticism qua exoticism. For him, most of its practitioners \u201chave airs and aspirations that go beyond\u2026the parameters of their actual accomplishments.\u201d Anything bucolic or decadent in his rendering of tropical life invariably serves a purpose: asking probing questions, but with a firm, resolute agnosticism as to their possible answers. During this period, the recurring, grotesque figure of the Blue Man emerged. He is a macabre personification \u2013 sometimes an exaggerated self-parody \u2013 of much that one finds confronting in contemporary Bali: from the white, male gaze upon Asian femininity, to so-called Orientalist othering, besides the excruciating cultural and environmental effects of crass, mass tourism.<\/p>\n\n\n\n As pointed out by Solomon-Godeau, these references to \u201cforms of exoticism\u2026possess neither more nor less authenticity or authority than do the corporate logos with which Bickerton earlier adorned his works.\u201d In other words, the artist in Bali quotes from a more comprehensive dictionary of world cultures, but in \u201cthe same postmodern syntax that informed the so-called Neo-Geo production of the 80s\u201d. Solomon-Godeau further suggests that Bickerton\u2019s \u201cshift to figuration in no way diminishes his preoccupation with the protean forms of fetishism, in either its commodity or its psychic manifestation (or both).\u201d He humorously drew a parallel between \u2018human being\u2019 and \u2018commodity\u2019, then proceeded to play with the naming and fetishization of both. Viewed thus, there are persistent, conceptual commonalities between his oeuvres in New York and Bali. His move to Bali merely enlarged the scope of his references, moving beyond the East Village art scene to an ancient culture in the throes of globalisation and modernity \u2013 a rapidly urbanising island of five million, rich in the many permutations of contemporary tropical life. Through it all runs an abiding fascination with the ambiguity of cultural production. This extends, perhaps, to his treatment of the reductive reading of his move to Bali as Orientalist escapism tout court<\/em>.<\/p>\n\n\n\n All too aware of appearing the Orientalist escapist, Bickerton initially removed Bali from his creative identity here. His first studio on the island was a plain, nondescript space that could have existed anywhere in the world. Today, however, he is probably the first to acknowledge that over the decades, through the tiniest cracks and crevices, \u201cthe seams in closed windows\u201d, despite his own initial misgivings, ideas from Bali, maybe even Indonesia at large, have seeped in. The most obvious local influences, such as the elaborate carvings on his frames or the conflicted references to expatriate life, are identified aptly by Solomon-Godeau as \u201ccitations\u201d with \u201cimplied quotation marks\u201d. Other, equally fascinating echoes of Bali and Indonesia suffuse the artist\u2019s output. To start with, his low opinion of most expatriate art \u2013 unconsciously or not \u2013 mirrors the inaugural position of his adopted country\u2019s postcolonial modern art. This was asserted by one of its leading masters and pre-eminent theorist, S. Sudjojono. As early as 1939, Sudjojono dismissed what he judged to be languorous, overly romanticised representations of colonial Indonesia as the \u2018tourist art\u2019 of the \u2018Mooie Indi\u00eb\u2019 [Beautiful Indies]. Unwittingly, Bickerton began his career in Southeast Asia with a mind-set not too dissimilar from the foundational premise of modern art practice in Indonesia.<\/p>\n\n\n\n For me, though, the most thought-provoking echoes of Indonesia in the artist\u2019s body of work are in its unfolding dialogue with the art and artists of Bali. Similar to the typical layout in Bali\u2019s Batuan school of painting, Bickerton\u2019s creations are often crowded to the brim with characters, objects and events \u2013 the world as a bustling, maddening mandala-marketplace of commerce and spirituality, of quotidian nightmare and dreamlike reality. An admirer of Batuan style, Bickerton appreciates how it \u201cbrought the traditional formal spaces into their own form of modernity.\u201d He confesses: \u201cthat earth and sky binary I\u2019ve got in my paintings definitely comes from looking at both Surrealism, like Miro, even Dali, with their mass and emptiness represented by brown and blue, but also at Batuan, where grey-greeny browns and green-browny greys give it its tone.\u201d Batuan artists reconfigured ancient spaces as a contemporary universe. Here, modern life, pulsating with energy, confronts sinister demons, both old and new, among whom the Blue Man himself would not be out of place.<\/p>\n\n\n\n There are also traces in Bickerton of the singular master from Ubud, I Gusti Nyoman Lempad. Over the course of a long life and career from the late nineteenth century until his death in 1978, Lempad produced a canon of powerful, psychologically prescient, figurative drawings and sculptures. \u201cHis understanding of human sexuality\u201d, notes Bickerton, was \u201cso ahead of his time, so liberating, so complex, and with a gorgeousness of line and warmth.\u201d In Red Scooter Nocturne<\/em>, the Blue Man plonks himself with unseemly heft, flabs overflowing, on his tiny scooter, while the elongated, twirling, silver-skinned, snake-like females of Temptation in the Banjar<\/em>, gyrate and hiss. The sensibility and line of their movements recall those of Lempad\u2019s characters. In the output of both artists, there is a similar sense of humour, resigned but smirking at the world\u2019s many contradictions.<\/p>\n\n\n\n The contradictions in Bickerton\u2019s art, with its underlying conceptual agnosticism, sit comfortably with Bali\u2019s hybridised metaphysics. The artist reflected in a recent interview: \u201cIt\u2019s not that I want to define what is dark and what isn\u2019t. I simply think that we must acknowledge that it all exists and get off it\u201d. Here, there are shades of the Balinese worldview. Part-Hindu, part-Buddhist, part-animist, it makes no unequivocal pontifications on either good or bad, sacred or profane. Unlike Abrahamic systems of belief, Balinese spirituality considers ambiguity as part of the natural order. There are, then, tantalizing echoes of Bali and Indonesia in Bickerton\u2019s works. To me, the insistence on seeing him as a latter-day Gaugin is untenable in light of both the nature of his interaction with his adopted home and the conceptual commonalities in his entire corpus.<\/p>\n\n\n\n Rather than seeing Bickerton solely as a \u201cwhite, male artist, living in the South Seas\u201d \u2013 that is to say, through the perspectives of a politically correct, apparently metropolitan and mostly white American monoculture \u2013 it might be less parochial to regard him in an Indonesian context. To an Indonesian, the artist is a \u2018totok<\/em>\u2019, or a first-generation migrant, behind whom \u2018Peranakan<\/em>\u2019, or mixed-race, culture thrives. His Indonesian-born children encapsulate this process of creolisation: his youngest is a half-Balinese girl from his fourth and current marriage; and the older a half-Jakartan son from his third marriage. The latter comes on his mother\u2019s side from a cultured and influential Peranakan family, founded in the last century by another totok, the pre-war, French intellectual Louis-Charles Damais and his aristocratic Javanese wife, R. A. Soejatoen Poespokoesoemo. There is a certain charm to the Peranakan identity of the younger Bickertons given Derek Bickerton\u2019s study of creole languages and Ashley Bickerton\u2019s upbringing among creole societies. The artist has found a home in a country where creolisation forms part of its national identity. Unlike America with its apparent multiculturalism of monocultures, forever weary of cultural misappropriation, Indonesia is defined by cultural hybridization. The very idea of Indonesia is a cultural and linguistic construct: etymologically, the country\u2019s name is Greek from \u1f38\u03bd\u03b4\u03cc\u03c2 [Indos] or Indian and \u03bd\u1fc6\u03c3\u03bf\u03c2 [nesos] or islands. For an artist so obsessed with the artifice of cultural production, it is fitting that he has ended up in a country that, according to historian Benedict Anderson, epitomizes the nation-state as an \u201cimagined community\u201d. Almost by accident, Bickerton has become a co-creator in this act of cultural production. It tells how an ancient society with a long history of civilizational, religious and ethnic hybridization, adapts to new forms of modernity.<\/p>\n\n\n\n From this vantage point, a lot of Bickerton\u2019s art elicits conversations about the varied forms that this much-mentioned cultural production might take. \u201cCulturescapes are fun,\u201d he avows, \u201cbut ultimately too hectic and too noisy. I long for great silence and great emptiness.\u201d In keeping with this meditative turn, as noted by writer Anthony Haden-Guest, the artist\u2019s current practice is \u201cnow undergoing further development, and a striking one\u201d. I notice this, too, at his studio before we drive up to Balangan beach. His most recent creations have a quieter, contemplative quality to them, reminiscent of some of his earlier commodity pieces. The Flotsam Series are boxed-in, three-dimensional snapshots of simplified landscapes of sky-earth binary. These are overlain by whirling, circulating currents of sea-borne, man-made debris. For Bickerton, this all conjures up \u201cborderless oceanic detritus, seascapes, culturescapes, swirling cosmologies of micro plastics, fragments of human narratives, residues of lives lived, of vestiges of human presence now swirling in great molecular vortexes.\u201d These snapshots are fixed in a sky-earth setting that is almost sculptural, textured with thick layerings of cardboard, clothing and other miscellanea. Presented in his signature crates, the new works are in dialogue with the artist\u2019s commodity creations \u2013 as if to commodify nature itself and transport it in containers on ships across the oceans. One might detect here, again, the fetishization of nature as commodity, or of commodity detritus as nature, or most likely both. \u201cI\u2019d ran away from certain parts of my past,\u201d Bickerton owns up, \u201cand I felt it was time to\u2026circle back, embrace everything and move forward from there.\u201d<\/p>\n\n\n\n Standing with our feet in the sea, I comment that his Flotsam Series is topical given our preoccupation with plastic pollution, the pandemic, and man\u2019s impact on nature. \u201cWell, hold on,\u201d the artist shoots back, \u201cI\u2019m not an environmentalist. Environmentalism labours under the presumption that we\u2019re saving the planet for human habitation. We\u2019re just one infinitesimal chapter in the enormity of the history of the biosphere; and the planet will eat us up and spit us out.\u201d He explains: \u201cI consider the great gyres of plastic in the Pacific as much a part of the natural order as the migration of wildebeests in the Serengeti. It\u2019s the majesty of molecules\u2026you\u2019ve got great swirling vortexes of molecules as things wash and slush around the planet, and geological time moves on. And the blip of humanity\u2019s imprint is wiped out. Gone!\u201d Bickerton\u2019s insistent agnosticism continues with his proffering that he is \u201cjust recording a moment and creating a dark kind of poetry. I don\u2019t know what I\u2019m doing it for. I don\u2019t have much faith in what artists are\u2026we\u2019re perfumed, dancing poodles for the plutocracy. But the point is, if I can get into this place and inhabit that for a second, then I can forget that I\u2019m a poodle. And I can get at a darker and deeper poetry.\u201d<\/p>\n\n\n\n As we look at the horizon, I try recalling our earlier conversation, realising that the crashing waves will render our recorded interview inaudible, washed out \u2013 so to speak \u2013 in a puddle of salt water. I look at my bullet points: Neo-Geo, Post-Conceptual Conceptualism, Craig-Martin, Susie, Culture Lux, Koons, Gaugin, Mooie Indi\u00eb\u2019, primitivism, Spies, Batuan, Covarrubias, Lempad, postmodern, postcolonial, Peranakan. I think of the running thread in the artist\u2019s canon, the ad-hoc artifice of cultural production, fetishism in its psychic and commodity forms; and of the quiet he longs for. Across the horizon now, with the sea-sky binary before us, I imagine whirling vortexes of seas, slowly gyrating round the planet as if in a Sufi dance, and in it, the remains of civilization: our flux of meanings, the artist\u2019s wedding rings here, and bits of plastic there. This vision possesses a dark, trance-like kind of beauty. If you suspend time and thought, and inhabit that space for a second; then, before we turn to molecules and return to the swirling ocean, you might just hear Ashley Bickerton\u2019s great silence.<\/p>\n\n\n\n Adi Hong-Tan is an Indonesian historian, writer and social activist, working in art and heritage conservation. He read Law at Christ\u2019s College, Cambridge University, and now sits on the Committee and Advisory Board of Yayasan Mitra Museum Jakarta [Friends of Jakarta Museums Foundation].<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Born in Barbados in 1959, Ashley Bickerton had a peripatetic childhood across four continents, from Guyana to Ghana, on to the Balearic Islands and England, then finally Hawaii. Continue reading ![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/Ashley-Bickerton-Good-Painting-1988-600px-528x724-1.jpg\")
Good Painting (1988)
mixed media construction with neoprene covering
90 x 69 x 18 inches
228.6 x 175.3 x 45.7 cm
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/Ashley-Bickerton-Seascape-Floating-Costume-to-Drift-for-Eternity-II-Cowboy-Suit-1992-600px-528x611-1.jpg\")
Seascape: Floating Costume to Drift for Eternity II (Cowboy Suit) (1992)
Cowboy suit, glass, aluminum, wood, caulk, fiberglass, enamel and canvas webbing
22 x 92 x 81 inches 55.9 x 233.7 x 205.7 cm
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/Ashley-Bickerton-Wild-Gene-Pool-Ark-No.-2-1989-600px-528x581-1.jpg\")
Wild Gene Pool: Ark # 2 (1989)
Wood, anodized aluminum, rubber, rope, leather and wild seed
76 x 76 x 121\u20442 inches
193 x 193 x 31.8 cm
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/zh-hans\/ASHLEY-BICKERTON-The-Patron-1997-Pencil-on-paper-14-x-16-34-inches-35.6-x-42.5-cm.jpg\")
![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/Ashley-Bickerton-Landscape-With-Green-Sky-2002-600px-528x422-1.jpg\")
Landscape With Green Sky (2002)
Photo collage, acrylic and objects on wood 72 x 96 x 14.5 inches
182.9 x 243.8 x 36.8 cm
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/L3_3-4-copy-528x455-1.jpg\")
Open Flotsam Painting
171.5cm x 227cm x 14.7cm
67 1\/2\u2033 x 89 3\/8\u2033 x 5 3\/4\u2033
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/L1_3-4-copy-528x491-1.jpg\")
Green Waves (2020)
flotsam, ocean borne detritus, oil paint, acrylic paint & rocks on wood and cardboard
171.5cm x 227cm x 14.7cm
67 1\/2\u2033 x 89 3\/8\u2033 x 5 3\/4\u2033
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/L2_3-4-copy.jpg\")
Dawn Estuary (2020)
flotsam, ocean borne detritus, oil paint, acrylic paint & rocks on wood and cardboard
171.5cm x 227cm x 14.7cm
67 1\/2\u2033 x 89 3\/8\u2033 x 5 3\/4\u2033
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/WhatsApp-Image-2020-12-11-at-12.38.43-copy-528x381-1.jpeg\")
![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/Ashley-Bickerton-The-Preparation-With-Green-Sky-2007-600px-528x437-1.jpg\")
The Preparation With Green Sky (2007)
Acrylic and digital print on canvas in carved wood, coconut, mother of pearl and coin inlaid artist name
72 x 86 x 7 inches
182.9 x 218.4 x 17.8 cm
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/S2-copy-528x436-1.jpg\")
Night Sky Over Fallow Field (2020)
flotsam, ocean borne detritus, oil paint, acrylic paint & rocks on wood and cardboard
95cm x 126cm x 14.7cm
37 3\/8\u2033 x 9 1\/2\u2033 x 5 3\/4\u2033
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/en\/S3_3-4-copy-528x484-1.jpg\")
Balangan Cave (2020)
flotsam, ocean borne detritus, oil paint, acrylic paint & rocks on wood and cardboard
95cm x 126cm x 14.7cm
37 3\/8\u2033 x 9 1\/2\u2033 x 5 3\/4\u2033
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/zh-hans\/M5-copy-528x428-1.jpg\")
Lagoon With Storm Front (2020)
flotsam, ocean borne detritus, oil paint, acrylic paint & rocks on wood and cardboard
133cm x 176cm x 14.7cm
52 3\/8\u2033 x 69 1\/2\u2033 x 5 3\/4\u2033
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/zh-hans\/Ashley-Bickerton-Orange-Shark-2008-600px-528x373-1.jpg\")
Orange Shark (2008)
Polyurethane resin, nylon, cotton webbing, stainless steel, scope, distilled water, coconuts, rope
60 x 108 x 60 inches
152.4 x 274.3 x 152.4 cm
Edition of 3
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/zh-hans\/S43-4-copy-528x460-1.jpg\")
Balangan Sunset (2020)
flotsam, ocean borne detritus, oil paint, acrylic paint & rocks on wood and cardboard
95cm x 126cm x 14.7cm
37 3\/8\u2033 x 9 1\/2\u2033 x 5 3\/4\u2033
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/zh-hans\/S4-cropped-Detail-2-528x405-1.jpg\")
(image courtesy the artist)<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/09\/zh-hans\/Ashley-Bickerton-Floating_Ocean_1-600px-528x418-1.jpg\")
Seascape: Floating Ocean Chunk No. 1 (2017)
resin, fiberglass, oil paint, enamel, aluminum & plywood
57 x 74 x 21 inches
144.8 x 188 x 53.3 cm
(courtesy the artist)<\/figcaption><\/figure>\n\n\n\n