Shrigley parodies an excessive culture market through, seemingly, crude and ill-quality sculptures. He satirises a mass consumption of art that lacks real meaning while demonstrating the ease in which such trends can be exploited.
With a dream-like ‘Alice in Wonderland’ quality, Shrigley's sculpture plays with form, transforming and distorting everyday objects or playing with scale. Particularly striking is the exhibit ‘Cheers’, a pair of grey fishing waders and Wellington boots filled with expanding foam.
Other works include black and white films, stuffed animals and doors. Tents and sleeping bags have a life of their own and grow uncontrollably, perhaps even beyond the control of Shrigley himself.
