Abundance

Jack O'Brien, Abundance, 2024
Photo polymer etching, Somerset satin with Kozo Chine Collé
45 x 28 cm
Edition of 30
Signed and numbered 
Unframed

Standard Price £350* 
Patron’s Price £315** 

* Edition prices will increase as they sell out.
** Patron’s price is available to those who support Camden Art Centre via our Patron and Young Patron scheme. For further information please click here.

This edition has been produced on the occasion of Jack O'Brien exhibition The Reward at Camden Art Centre, 2024.

About the artist
Jack O’Brien (b.1993) lives and works in London and is represented by Ginny on Frederick (London) and Matthew Brown Gallery (Los Angeles). Recent solo and duo exhibitions include: Nectar, Matthew Brown Gallery, Los Angeles, US (2024); Love Triangle, Aro, Mexico City, MX (2024); The Theatre and Its Double, Between Bridges, Berlin, DE (2023); The Answer, Sans Titre Invites, Paris, FR (2023); To More Time, Lockup International, London, UK (2022); The Influence of Emotions On Associated Reactions, with Henryk Morel (1937-68), Polamagnetczne Gallery, Warsaw, PL (2022) and Waiting For The Sun To Kill Me, Ginny on Frederick, London, UK (2021). Recent group exhibitions include: Support Structures, Gathering, London, UK (2023); Memory of Rib, N/A Gallery, Seoul, KR (2022); Chômage Technique, Lovaas Projects, Munich, DE (2022); Something is Burning, Kunsthalle Bratislava, SK (2022); An Insular Rococo, Hollybush Gardens, London, UK (2022) and Strange Messengers, Peres Projects, Berlin, DE (2018).

In Abundance, the circular arrangement of keys, utensils, industrial fastenings, and various everyday items within the metallic vessel mirror O’Brien’s ongoing fascination with materiality and assemblage. These objects—each carrying its own weight of meaning, history, and utility—are brought together to evoke themes of consumption, memory, and intimate connections between the domestic and industrial.

The chine-collé process, known for its fragility and precision, adds a subtle tension to the work, reinforcing O’Brien’s characteristic exploration of material contrasts and fluid relationships. The juxtaposition of smooth metal spheres, textured fasteners, and a vibrant orange raspberry encapsulates the artist’s interest in how materials coalesce, evoking a sense of both abundance and restriction. This method of layering print and texture mirrors the broader themes of O’Brien's sculptural practice, where intimacy, utility, and queerness collide.

While quieter than his large-scale sculptural works, Abundance offers a still moment of reflection—an invitation to consider how mundane objects intersect with narratives of desire, use, and accumulation. This etching reveals a delicate, more intimate side of O’Brien’s exploration into urban life and its imprints on personal and collective memory.

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