|Medium||Graphite on paper|
|Dimensions||29.5 x 20.9 cm|
About the work
This drawing is part of an ongoing series of portraits I have made of online emotional labourers.
The subjects are found sitting and waiting for clients to appear in the chatroom. They are surrounded by exotic backdrops, maps and cityscapes which seek to counter the claustrophobia of the staged interiors. Lost in the world of their smartphone they find themselves in front of the two- way mirror, unconcerned by and unaware of the presence of the viewer. Referencing not only our own contemporary, isolated absorption with the screen, the works also point to 17th century Dutch painting with its glimpses of private domestic spaces where the subjects received letters, played music and hinted at desires.
About the artist:
David Haines lives and works in Amsterdam. Graduated from Camberwell School of Art, London and The Rijksakademie van Beeldende Kunsten, Amsterdam.
Haines works with a range of media, predominantly drawing, painting and video.
Selected solo exhibitions include The Skin’s gaze (and Other Thoughts), Upstream Gallery, Amsterdam (2020); A Fragile Membrane, an Illusive Screen, Upstream Gallery, Amsterdam (2017); Two Way Mirror, Tyneside Cinema (Gallery), Newcastle (2017); Disegni, Artissima, Turin (2017); Armory Show, New York (2016); Discoveries, Art Basel HK, Hong Kong (2014); and Upstream Gallery, Amsterdam (2013). Selected group exhibitions include Modern Love (or Love in the Age of Cold Intimacies), Tallinn Kunsthalle – Kunstihoone, Tallinn and Museum für Neue Kunst, Freiburg (2021); Trouble in Paradise, Kunsthal, Rotterdam (2019); A Slice Through the World, Drawing Room, London and Museum of Modern Art, Oxford (2018); New Dutch Short Films, Rooftop Films/ Trilok Fusion Center for the Arts, New York (2016); Art at the Spaarne (The Collection/Donation of Bart Spoorenberg), Teylers Museum, Haarlem (2016); Transformer, Upstream Gallery, Amsterdam (2015); IDFA on Art, Eye Film Museum, Amsterdam (2015); Hoge Horizon, Stedelijk Museum, Lier (2014); Beauty of Violence, Museum Het Dolhuys, Haarlem (2014); Nothing in the World But Youth, Turner Contemporary, Margate (2011); 12th Istanbul Biennial (2011); The End of the Line; Attitudes in Drawing, Hayward Gallery, London and touring (2009); and Adam and Eve, Curated by Annie Fletcher, De Appel, Amsterdam (2002).
Awards include the Irinox Drawing Prize, Artissima, Turin (2017); and the Jeanne Oosting Prize, The Hague (2012).