CRASH

In Michael Radford’s first artists’ book, we see shattered supercar bodies - forming a dialogue between consumer accidents and human desire, questioning these objects and their role in enabling petrol masculinity. The seductive high - gloss compositions draw us in, seen through the lens ofautomotive sexiness and the capitalist ideological machine, cannoned by the image. The work reflects strategies from his professional background: advertising, publishing, and state - propaganda.

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