Bio:

Stan Buglass (b. 1999, London, UK) lives and works in London, UK, and Phoenix, USA. His work highlights industrial objects, environments of labour, and the street to offer a study of the manmade. Buglass’s formal investigations of these things come from reflections on familial and his own working life, and become cross sections of how these places of work affects our lives.

Upcoming exhibitions include ‘Bodies Without Organs’ (TBD), Curated by Jake Hasapopoulos and Sam Smith to be held in NYC, USA. Recent exhibitions include; ‘Weird Flex’  Curated by Juan Obando at the Humanities Institute at ASU, AZ, ‘Crash Club x U22’ at Warsaw Gallery Weekend with Death Of Man gallery, Warsaw, Poland, Hotel Warszawa Art Fair with Death of Man, 2024, Warsaw, Poland, ‘Out From the Grey’, group show curated by Stan Buglass at Chica, 2024, Phoenix, USA, ‘Auto Deco’, Solo show at Death Of Man, 2024, Warsaw, Poland,  ‘A Slash of Blue’, Gerald Moore Gallery, 2023, ‘Memories Of A Social Club That Doesn’t Exist’, ZÉRUÌ, 2022, ‘Silver Sunsets’, Usual Business, 2022, ‘Latent Traces’, Changing Room Gallery, 2021 and ‘Vestige Astray’, 213 Kupfer, 2021, London, UK. Buglass received his BA from Central Saint Martins, 2021, London, UK. He will earn his MFA at Arizona State University’s Herberger Institute class of 2026. Buglass was also awarded a place on the Associate Studio Programme hosted by Double Agents and ACME artist’s studios, London, UK.

Statement:

Buglass’s work details the weathered faces of ageing architectures and estranged, tired machines. Painting and relief become representations of the infrastructure our lives are reliant upon, layered in oil, dust, and grit. Originating from photographs, they are relics of architectural mouldings taken from the freeway underpass and other strange and overlooked corners of the city. Taken at speed these images have a sense of motion blur and become memories of a recent past. They are programmed to become freeze-frame relief, or carved hieroglyphs of the sludge of the everyday. They present to us ergonomic environments of industrialised labour and display the layered material entropy and dereliction of street-facing walls.

Found automotive forms and worn-out mechanical appliances are sculpturally re-appropriated as remnants and cast-offs from scrapyards and other lands of obsolescence. They are echoes from motorised economies of production and are representative of sweaty and grimy bodily engines of operation. These mechanical representations of exhaustion are regenerated and restored into new forms that produce a sense of material and human potentiality, and act as valued memories of commercialised cultures of being. Buglass employs methods of abstraction to intensify the materiality of industrialised working life, its nuances, and grey areas in relation to methods of economic production and unbalanced practices of labour.