Halcyon Gallery continues its successful relationship with Mitch Griffiths

Mayfair's Halcyon Gallery continues its successful relationship with the Nuneaton-born artist, Mitch Griffiths, by hosting his latest show, The Promised Land. Produced over a period of four years, this series of new paintings by the provocative artist juxtaposes themes of religious iconography with modern-day consumerism. Griffiths is inspired by the style of the Old Masters and states that "possibly, Caravaggio is my favourite". Visitors are immediately dazzled by the bold colours of the oils before the eye lingers on the hauntingly beautiful subjects, including a menacing yet sensual image of Ray Winstone that perfectly encapsulates the actor's tenderness and brooding intensity. Socio-political themes, tossed around like confetti in the election campaign, jostle for our attention: the perils of a throwaway society ('Consumption', 'Pavement'); the fickle and fleeting idolisation of celebrity ('The Muse Is Dead', 'Rehab'); the misunderstanding and isolation of youth ('The Promised Land', 'Flag Girl'). Images are sometimes disturbing such as the aforementioned 'Consumption' which depicts a hanging man, swathed in bubble-wrapped, weighed down by two bags of groceries that seem like they could split any second. 'Commercial Gangster' is another remarkable piece, revealing the torso of a young man, who has tattooed brand names into his skin as a permanent reminder of the product placement in every facet of 21st century media. Considering how art sometimes relies on the oxygen of publicity rather than content to secure column inches, The Promised Land marries substance with style and is a very welcome addition to the capital's burgeoning art scene this spring.


The work of contemporary artist Mitch Griffiths apprehends the viewer through a dissection of twenty first century existence.

Richly  detailed, viscerally layered canvases disclose scenes which simultaneously examine notions of empire, guilt, celebrity and first world entitlement; whilst proffering to expose the essential vacuity of a society drenched in mass media and consumed by consumption itself. Griffiths employs an unflinching high realism to pick apart ideas which promise to haunt with an unnerving familiarity.