Drooping two metres high and confronting the viewer somewhat despondently, the face of Pollock’s bronze powder coated flower rises out of a small base, which emphases its solitary, transplanted existence.

Pollock’s work explores Arcadian views, pastoral ideals, and how the British countryside is littered with both beauty and grotesqueness, whilst infected with nostalgia that leaks contradiction and ignorance. Pollock believes that once a flower has been picked its life span is forced to speed up, as humans take over the control of something beautiful to satisfy desire. He thinks of flowers as spectators of the countryside, always there watching and wilting with disapproval, as we pick flowers to put in our homes, in our hair. Applying his teeth to the material, Pollock is making a strong statement about the worst thing a human being can do to another living thing.

Spectator is made from sand-casted aluminium sections welded together. The original iteration of the work is made from air dry and epoxy clay, which is then bitten by the artist. By casting one piece multiple times, the artist shows how a single action can become something more.

Jesse Pollock (b.1993, Gillingham, Kent, England) studied BA Illustration, Camberwell College of Arts and BTEC Diploma, University of Creative Arts. Recent exhibitions include: State of Play, Brooke Benington & Canary Wharf (2022); Sculpture in the City, London (2022); Dream Weavers, Grove Collective, London (2022); Pink Gallery, Superzoom, Miami (2021); Sit Right Here And Watch The World Burn, Selfridges, London (2021); Arcadia, Bold Tendencies, London (2021); Nourishment ii, VO Curations, London (2020); La Totale 2020, Boissy-le-Chatel, France (2020); A Land of Incomparable Beauty, Collective Ending, London (2020); Contemporary Sculpture Fulmer 2020, Brooke Bennington, Fulmer (2020); The Garden of England, Steve Turner, Los Angeles (2020); Dieu To Old England, The Kids Are Alright, Choi and Lager, Cologne (2019); Super Zoom, curated by Ferdinand Gros, Paris (2019); Power of Ten, Steve Turner Gallery, Los Angeles (2019); Squeeze Hard Enough It Might Just Pop! Hannah Barry Gallery, London, (2018).