london

View of “Marvin Gaye Chetwynd,” 2014.

Marvin Gaye Chetwynd

Sadie Coles HQ | Balfour Mews

View of “Marvin Gaye Chetwynd,” 2014.

This past winter, London was noticeably flush with terrific exhibitions by women artists working with collage and montage: Hannah Höch’s tiny cut-up miracles at the Whitechapel Gallery, Hito Steyerl’s spliced videos rocking the Institute of Contemporary Arts, and Trisha Baga’s sprawling 3-D moving-image installations at the Zabludowicz Collection. A further addition to this collage overload came in the form of Marvin Gaye Chetwynd’s room-size installation Canterbury Tales, 2014. The whole ground-floor gallery—every last inch of the four walls, the floor, and a flimsy paper hut erected at the center—was plastered in a riot of black-and-white paper collages, loosely based on Chaucer’s stories.

Using photocopied material, the artist (formerly Spartacus Chetwynd, and before that Lali Chetwynd) combined snippets of Gothic buildings, twenty-first-century faces, equestrian

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