You might have come across one of David Breuer-Weil's epic sculptures in Hanover Square, at Chatsworth House or in Golders Hill Park, Hampstead. But the artist, who has worked on a colossal scale since 1997, has recently executed one of his largest solo projects to date.
Project 4, a series consisting of 70 largescale canvasses alongside a large number of sculptures, is currently on display at The Vaults gallery in London. It is a diverse and unruly mix of colours, themes, places and time. Leitmotifs of humanity, philosophy and politics flit between the tragic and the joyous in a visual language that is as much absurdist as it is emotive.
A focal point of this new body of work is a heightened and politically topical interest in ideas of homeland, territory and belonging explored through an extended repertoire of familiar images such as fire and water, boxes, scrolls, books and feet with a new and expansive consideration of cosmology's prophetic and pseudo-scientific structures. Compared to previous Project series, the angles of vision are even more eccentric and disorientating, sometimes positively cinematic. Underlying the works is a profound sense of unease although an element of hope seeps through.
The show, housed in the atmospheric vaults of Leake Street in Waterloo, is that latest in Breuer-Weil's unusual venue choices. The Project, in 2001, was in the crypt of the Roundhouse; 2003 saw Project 2 take place in the Bargehouse on the South Bank; and, in 2007, Project 3 was held in a disused multi-storey car park in Covent Garden.
Until 24 March, The Vaults, Arch 233, Leake Street, London SE1 7NN, www.davidbreuerweil.com