Blanks (a mad man’s laughter) is inspired by the traditional Japanese aesthetic Wabi-Sabi, that celebrates the imperfect, impermanent and the incomplete. In the simple form of Blanks (a mad man's laughter), its flowing lines accentuated by his use of the traditional shou sugi ban technique of scorching the wood to preserve it - Brindley has embraced the flaws of the elmwood and the marks of his chisel as intrinsic to the work, markers of its life and traces of its history. The photograph at its centre is a reminder of the inherent irony in trying to capture a transitional or transformative moment.

Jack Brindley (b.1987, London, UK) studied BA in Fine Art at The University of Reading and MA Painting at the Royal College of Art, London in 2013. Solo exhibitions include; STONES, Art Lacuna, London (2018) Sweat, Pippy Houldsworth Gallery, London, (2014) Clay Arlington – Aspirations to be Reborn in a Western Paradise, Lychee One, London, UK 2015: Clay Arlington – Understudy, Union Gallery, London, (2015) and Blueprint, CSA Space, Vancouver, Canada, (2013). Group shows include; Some People are Worth Melting For, Ginny Projects, Wales, (2018) If a Tree Fell… It’s Kind of Hard to Explain, is this it, London, UK (2018) With Institutions Like These, The Averard Hotel, London, (2018) Tan Lines, Drawing Room, London, (2014), Mud and Water, Rokeby Gallery, London, (2014), Slow is Smooth is Fast, Boetzelaer Nispen, Amsterdam, Netherlands (2013), Intercourse 3, ICA, London (2013) and Congratulations you are the most recent visitor, Kettles Yard, Cambridge, (2013). In 2013 he was commissioned by Situations to produce a large public commission.