An artist recently brought to my attention by Julian Page is James Rogers. A potentially rising star, just 30 years old, and originally from the heart of England (me too). Julian has championed James for a year or two now, bringing him to attention at several London art fairs including the London Original Print Fair at Somerset House last summer, the British Art Fair at the Saatchi Gallery last month and now at the Woolwich Contemporary Print Fair. Although the deep process and nature of interrogation behind his work currently confuses me (I’m hoping for more future engagement and enlightenment), the inked brass etching plates (so good to see these as artworks in their own right) and the resultant prints on paper, speak to me of ancient ‘British Museum’ shields, strange mythological beasts, blood and body and man’s urge to conquer over perceived evil. Upon reading the text I learn about the importance of AI and the digital 3D printer in James’s drawing process to explore, not just the ancient world, but rather the bang on, right up to date emerging world and our experience of existing in it. More important is the fact that I get drawn in, without reading the text, called over from the other side of the room, to examine the detail of something beautifully executed and that may turn out to be rather precious.
James Rogers, In Search of Hepatizon, 2023