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Iconographic imagery of Superman confined to a wheelchair contained within broad expansive blocks of sky blue or green gloss. Wheels attached to the bottom of the painting play on spectator's perspectives of form and function as Superman veers uncomfortably close or remains distant. Welcome to the wonderful world of Benjamin Cove. After the success of the recent 'Flatlands' exhibition at the Pumphouse, London, it is now the North's chance to view Cove's work. A former architecture student who was seduced by the experimental nature of painting. Cove uses the Superman icon in order to challenge notions of high and low culture and the invulnerability of so-called Supermen. Taking reference from the wheelchair-bound Christopher Reeve and his own physical condition, the image is placed firmly at the bottom of the canvas with immense vistas of clear paint travelling to the top of the piece. Playing on the myth of Icarus flying too close to the sun in 'Superman-lcarus' and an updating of the Lois Lane love story in 'Superman’s First Love' Cove attacks the Western ideal that money can buy everything including the ability to walk. Smallville it ain’t. The biggest discussion will be the wheel attachments. Benjamin Cove freely admits that 'the format of the painting has done favours for me' but isn’t trying to start a genre of Wheelism, just trying to make it easier for the delivery people to move the paintings. And make subtle comment on disabled art, the role of each material element in painting and how we view the completed art form. Entertaining especially if you always cheered for Lex Luther, thought provoking and challenging. Benjamin Cove is a name to keep firmly in mind. Prepare to question.
Daniel Brierley
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