Dale Grimshaw‘s Pride & Prejudice new show at WellHung gallery was one of these shows you do not want to miss.
As soon as we got the email about it, an entry in the calendar was penciled to attend the Private View.
We had already been to some of Dale Grimshaw’s shows as well as seen a few murals throughout London so we could not wait to see what this new works will be all about.
As you step in the gallery, they are all looking at you, even stare at you. “They” are the indigenous people, mostly from Papua New Guinea, Dale Grimshaw, quite recently, has become involved with the political struggle to free West Papua from Indonesian occupation which he thinks aren’t covered enough in the medias.
More recently, Dale has become involved with the political struggle to free West Papua from Indonesian occupation. This bitter and hard fought struggle is rarely reported in the West and through his work, Dale has been supporting Benny Wenda, the campaigns leader and long term champion Peter Tatchell, in raising awareness in the UK.
[] WellHung galllery
The activist aspect of the new set of artworks obviously means a bunch of political messages and symbolic can be observed throughout but what we really also appreciate – beyond the apparent technical painting skills- it is the juxtaposition of two cultures, the Western society – we are convinced that it is Shoreditch you can see in the background of the piece just above) and the Papua New Guimes where the indigenous depicted in Dale Grimshaw’s set of works.
It was a delight to see again Dale Grimshaw’s mastery in the flesh. We are glad to see him engaged him for a cause and can definitely tell that by doing so, his style has become less dark than his last show – “Moreish” at Signal gallery we attended. What you will also find out by reading our review of that show, is that the technic does not seem to have evolved as much.
A must see-show. Runs until the 13/05/2017.
h… and Other Sh*t,” Robert Brandenburg brings “hijacked” art to 
e finger to the people standing by. From metal to cardboard, In Mammy Cakes Brandenburg alters a Hostess Cupcake box from a chocolate frosted vanilla cupcake to a white mouthed image mirroring minstrel shows that ran in America from the 1830’s into the mid-1900’s. During these often severely racist performances, white men painted themselves in black face.
Brandenburg redubs it Freedom from Stress and replaces the original turkey with a glass pipe, beers, and whiskey explaining, “experience suggests that the happy family is going to need a little more than turkey to keep things running smoothly for the rest of the day.”
Too late to go this year, the 
