Becoming a dominant force as part of the East Village Art scene in the 80s in the light of his quirky, abstract portraits, Bickerton’s work in more ways than one consciously stands in opposition to the mechanization of the consumerist world in which we live, as he frequently alludes and makes reference to societal concerns. This is a prevalent goal in many of his works, and is evidenced in his comprising of his own invented logos such as ‘culture lux’ and ‘suzie’, which can be found on many of his portraits.
As part of this challenge to mechanization, too, his opuses often utilize and evoke shapes and geometric design, metaphorically representing society through different mediums and resourceful materials. His pieces sometimes comprise of natural, found objects such as driftwood or coconuts, and are rich and diverse in their variety. His latter works, those which were produced post his relocation and choice of residence in Bali, have become increasingly figurative, ranging from native, naked, curvaceous women to the vibrant splashes of colour that are flecked across the faces of models, to the portrayals of various exotic characters. These works, it could be suggested, marked a subtle shift towards the negative impacts of capitalism upon the natural world.
In his career, Bickerton has worked both on and off the canvas. He spent time working at the Singapore Tyler Print Institute, specifically working on paper oeuvres such as ‘Green Reflecting Heads Duo No.5’, in 2006. He is at present participating in the Gajah Gallery in Singapore, where he previously unveiled his solo exhibition Junk Anthropologies (2014), and is now contributing to their most recent art platform – Yogyakarta Art Lab.
Bickerton has become and remains a powerful and important figure in his influences with the next generation, and his works mark an artistic movement that is now globally renowned.
Gajah Gallery will be presenting Ashley Bickerton’s works at Art Stage Singapore between 22 and 25 January 2015.