Callum Eaton
LOOK BUT DON’T TOUCH

18.08.2023 — 16.09.2023
London

PRIVATE VIEW:
17 AUGUST 2023 | 6-8 pm

CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
(left) Another Door Closes, 2023 oil and acrylic on canvas 210h × 110w cm; (right) When One Door Opens, 2023 oil and acrylic on canvas 210h × 110w cm
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, FIZZY, 2023 oil and acrylic on canvas 200h × 110w cm
CALLUM EATON, BIG COKE PROBLEM, 2023 oil and acrylic on canvas 200h × 100w cm
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, COKE ADDICT, 2023 oil and acrylic on canvas 180h × 120w cm 70.87h × 47.24w in
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, FORGIVE ME FATHER FOR I HAVE SINNED, 2023 oil and acrylic on canvas 210h × 120w cm
CALLUM EATON, WHO'S LOST MARY,, 2023 oil and acrylic on canvas 165h × 70w cm
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
(right) CALLUM EATON, DIRTY BOY, 2023 oil and acrylic on canvas 185h × 85w cm; (right) CALLUM EATON ABSOLUTION, 2023 oil and acrylic on canvas 185h × 85w cm
CALLUM EATON, LOOK BUT DON'T TOUCH, CARL KOSTYÁL LONDON
CALLUM EATON, BOLLOCKS TO BREXIT, 2023 oil and acrylic on canvas 150h × 70w cm 59.06h × 27.56w in

Exhibition Text

Carl Kostyál proudly presents ‘Look but don’t touch’, Callum Eaton’s debut solo exhibition with the gallery.

“Having pursued that particular painterly perfection of photorealism since his time at Goldsmiths (BA Fine Art, 2019), Callum Eaton watched on with a sense of satisfaction when an inebriated attendee of an early open studio session attempted, inevitably in vain, to interact with a two-dimensional depiction of a conventional cash machine. The frustrated fumblings of Eaton’s incapacitated patron recall that renowned Grecian tale of illusionary artworks, Zeuxis and Parrhasius’ contest of artistic artifice. The latter, incensed at the former’s ability to produce a still-life so accurate that birds would fly down in an effort to pick at the grapes portrayed, decided to develop his own deceitful depiction. When complete, Parrhasius invited his unwitting rival to view his latest masterpiece, safely stored behind the draped curtains of his studio. Upon reaching out to unveil the artwork, an unsuspecting Zeuxis encountered only solid surface and yielded to the superior draughtsman, the curtains themselves being Parrhasius’s painting.

For his London debut exhibition at Carl Kostyál, Eaton has made an expanded selection of the oft-overlooked street furniture and urban architecture that populate the artist’s hometown. Imbued with an acute awareness of conceptual art developed during his time at Goldsmiths and a wry critique of the ever-increasing commercialisation of contemporary culture in 21st-century society, Eaton’s art inhabits a world reduced to two dimensions. These everyday objects – their coin slots, keypads and buttons eagerly awaiting use – appear rather as readymades. They retain their form but lose their function.

Street-side telephone boxes made all but obsolete by mobile phones and now regularly removed by councils and city planners, remain as reliquaries to unrelenting digital advancement. Coca-Cola vending machines replete with Warholian repetition expose Eaton’s labour-intensive like-for-like replication of on-demand appeasement, while elevators from the artist’s own studio space in the City of London retain eerie echoes of their former life ferrying bankers and business people. Employing that trompe-l’œil trickery popularised by French genre-painter Louis-Léopold Boilly  – whose portrayal of overlaid sheets of paper was selected for the Paris Salon of 1800 –  Eaton doggedly documents his everyday environment, each painting becoming a new piece of his Sims-esque city-building expansion pack.

And just as the artist is present in Jan van Eyck’s famed Arnolfini Portrait easter-egg or the secret self-portraits that Baroque-period painter Clara Peeters snuck into her still-lives, Eaton himself appears as both an apparition reflected in the door of a launderette’s Washeteria and the example images one might obtain from a Photo-Me self-service photo-booth. The artist as subject – as object perhaps – blurring the lines between the real world he inhabits, and the flattened substrata simulation that exists on the surface of each canvas.”

Hector Campbell,
London 2023

Callum Eaton (b. 1997, Bath, UK) lives and works in London. He completed his undergraduate study in Fine Art at Goldsmiths College in 2019. His work has been included in various group exhibitions including ‘Hole in the Wall’, Another Gallery, Paris (2023), I DON’T NEED IT, BUT I WANT IT, The Office, Miami (2022), Breaking News, Another Gallery, Paris (2022), The Call, Hackney Down Studios, London (2021), Morrison Foerster, The Scalpel, London (2021), The Call, Exhibit 1, Sons Of Craft, Kunstraum Gallery, London (2020) and the Goldsmiths Degree Show, London (2019).

This is his debut exhibition with Carl Kostyál.