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Jamie Crewe, Gasworks Autumn Open Studios 2016, Photo: Hanna-Katrina Jedrosz.

Jamie Crewe in their studio, Gasworks Autumn Open Studios 2016. Photo: Hanna-Katrina Jedrosz

Jamie Crewe, Alcibiades or Socrates, 2015. Iinstallation view, The Glue Factory, Glasgow, 2015. Courtesy of the artist and Transmission, Glasgow. Photo: Matthew Williams

Jamie Crewe, Chantal after James Bidgood and Jean Genet, 2016. Installation view, But what was most awful was a girl who was singing, Transmission, Glasgow, 2016. Courtesy of the artist.

Jamie Crewe, Teleny, 2015. Video still. Courtesy of the artist

Jamie Crewe, Chantal after James Bidgood and Jean Genet, 2016. Installation view, But what was most awful was a girl who was singing, Transmission, Glasgow, 2016. Courtesy of the artist.

Artist and singer Jamie Crewe uses objects, moving image, print, installation and publication to make diverse works which inform each other. These often stage confrontations between disparate references: between filmmaker James Bidgood and the myth of Adonis; between Luce Irigaray's Speculum of the Other Woman (1974) and male homoerotic photography; or between the anonymous pornographic novel Teleny (1893) and Pasolini's Medea (1969). The points of contact between these references range from incisive to capricious, creating tensions that never settle into coherence, with a particular focus on homoerotic cultures and expressions of trans-femininity.

‘Curdling’ is often an appropriate description of Jamie’s artistic intentions: adding a catalyst or agitation to a thing which causes it to split and transform. Forms or structures from existing cultural products are echoed, but with content that contradicts, complicates or undermines them. Pushing against their references, these works become ambivalent explorations of history, identity, community and desire.

As part of this practice Jamie makes simultaneous use of multiple methodologies, taken from a variety of queer creative legacies. A single body of work might include elements of parody, biography, personification, poetics, academic conventions, re-staging or recreation, and might use delicate lithography, rough spray painting, ready-made objects, custom structures, low quality or high definition video. By using conflicting approaches and techniques Jamie tries to stage critiques that are partial, inconclusive, and implicated, and to activate a kind of scholarship that does not aspire to truth or education, but to the expression of a conflicted relationship with power.

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Jamie Crewe lives and works in Glasgow. Recent exhibitions include But what was most awful was a girl who was singing, Transmission, Glasgow (2016); Here (a project by Deuce Deuce), Skypark, Glasgow (2016); A Lover’s Discord, Kontorprojects, Copenhagen (2015). In 2015 Jamie received a special commendation from Glasgow Sculpture Studios within the MFA Degree Show. In 2013 Jamie received an AHRC studentship from the Glasgow School of Art and in 2011 was shortlisted for the Title Art Prize.

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Jamie Crewe is the first to benefit from the Freelands Artist Programme, a 3-year programme for emerging artists based outside London, made possible thanks to a generous grant from the Freelands Foundation. The programme combines Gasworks’ 3 month residency with an exhibition and a series of public events. 

The Freelands Artist Programme marks an exciting new departure for Gasworks, whose groundbreaking residency programme is known for supporting emerging international artists and can now, for the first time, be offered to a UK-based artist. The programme provides the selected artists with the freedom to research and develop new work in London, while also receiving curatorial support towards an exhibition and a public programme at Gasworks. Find out more.

Jamie was hosted in the Roberts Residency Studio.