New York-based British artist Oliver Clegg has in many ways emerged as a fitting heir to this eclectic tradition of interdisciplinary practice, producing paintings, screen prints, mixed-media works, photography, found objects, sculpture, installation, text-based works, participatory projects and more besides. His materials and methods have involved everything from glass, wood and steel to neon, resin and concrete, weaving and casting to engraving and industrial manufacture. There are oblique nods to Rauschenberg’s combines in his paintings on old wooden furniture pan-els, to Kippenberger’s hotel drawings in his laser-cut birth certificates, to Holzer’s billboards and neon works in his Joshua Tree desert signage, to Gillick’s multi-coloured modernist constructions in his mobile furniture installation at Brooklyn Museum, or to Ed Ruscha’s text-on-image works in his paintings and screen-print hybrids. These references to – or perhaps strategies learnt from – senior figures known for working across mediums, are absorbed into the artist’s own practice both effortlessly and with great aplomb.

But beyond the impressive range of mediums and methods that the artist employs, his practice reveals a dense web of ideas and critical concerns that are equally polyphonic and multivalent. One might even go as far as to say that they are growing, as his practice evolves, into something really rather profound – a complex, sometimes amusing and playful yet often sincere and heartfelt exploration of ontological and existential notions of objecthood and matter, images and signs, language and communication, thought and action, creation and being.

Oliver Clegg was born in Guildford, United Kingdom in 1980. He received a BFA from Bristol University in Bristol, United Kingdom, and a MFA from the City and Guilds of London Art School in London, United Kingdom.

Solo and group exhibitions include ”Don’t just do something, stand there” at The Journal Gallery in New York, New York (2024); “The Last

Great Painting" at Martos Gallery in New York, New York (2024); “Sometimes, Forever” at MAMOTH Contemporary in London, United Kingdom (2024); "We Cat" at Tennis Elbow at The Journal Gallery in New York, New York (2021); "Good Pictures" at Jeffrey Deitch in New York, New York (2020); “More or Less” at Sadie Coles HQ in London, United Kingdom (2018); “Euclid's Porsche" at Rental Gallery in New York, New York (2018); “Animals” at the Charles Riva Collection in Belgium (2017); “Everything Should be OK" at Lawrie Shabibi in Dubai, United Arab Emirates (2016); “Life is a gassssss” at Erin Cluley Gallery, Dallas (2016); Gotika at Palazzo Franchetti, 56th Venice Biennale in Venice, Italy (2015); “Nightfall” at the Modem Museum in Debrecen, Hungary (2012); “The Art of Chess” at the Reykjavík Art Museum in Reykjavík, Iceland (2010); the Busan Biennale in Busan, South Korea (2010); “Something More, Something Less” at the David Roberts Art Foundation in London, United Kingdom (2008); and “Oliver Clegg: A Knight’s Move” at the Freud Museum in London, United Kingdom (2008).

Work by Clegg is held in various public collections including the McNay Art Museum in San Antonio, Texas; the Irish Museum of Modern Art in Dublin, Ireland; UBS; the Zabludowicz Collection; The Bunker Art Space in Miami, Florida; The Warehouse Dallas Art Foundation in Dallas, Texas; the Walt Disney Co. Collection; The Deutsche Bank Collection; and the Start Museum in Shanghai, China.

Oliver Clegg lives and works in Santa Teresa, Costa Rica..