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Katy Orkisz, London (2015); artist-in-residence at Darling Foundry, Montreal, Canada (2015); “ODRADEK”, Les Instants Chavirés, cur.

Hempton asks random men if she can paint them, and then, brush in one hand and typing with the other, she depicts as much of the on-screen feed as the subject’s patience – or arousal – allows.

Although Hempton’s nudes are typically titled with proper names, they are impersonal, their faces cropped out.

They communicate something unknowable and ungraspable in even the frankest exposure of the body; try to clasp Kajsa (2015), and she would slip between your palms like an icicle.

Jesse Darling works as editor-at-large for The New Inquiry, publishes texts and essays when absolutely necessary, and is represented by Arcadia_Missa.

CELIA HEMPTON Born in 1981 in Stroud, United Kingdom. For all the flesh depicted in Celia Hempton’s portraits, sensuality is only one part of the story.

His current research focuses – through video, installation, sculpture and furtive interventions – on the body as both an archive and a territory, as a utopia to be reimagined through different strategies of resistance.

With particular attention to dance, he proposes to defuse the power relations that shape Western imaginations and to rearticulate the representations that emerge from them.

Over the past year Maheke has pursued his research initiating a series of public conversations, at Open School East, entitled “Beyond Beyoncé: Use It Like a Bumper!

”, which considered Hip-Hop cultures through the lens of Queer and Black Feminist theory.

Though the foregrounding of male buttocks carries cultural baggage, the sexual inflection of this particular presentation of the body is, in some sense, incidental.

What Hempton seeks, rather, is the chance to paint from an ‘interesting position’ – in this case, the fascination, rage, hilarity or whatever it is that ensues from watching your partner turned-on by someone else.

By Milovan Farronato, Mendes Wood DM, São Paulo; “Lupa”, Galerie Sultana Paris, France (2015); “Chat Random”, Southard Reid, London, UK; “Paintings on Wall and Canvas”, Galleria Lorcan O’Neill, Rome; a performance and presentation of work made in Stromboli as part of Fiorucci Art Trust's festival Forget Amnesia (2014); “Cur”, Southard Reid, London, UK and Vug, Neuer Aachener Kunstverein, Aachen, Germany (2013).

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