Faux Fur fabric
30 × 12 x H40cm
'Comment Section' Faux Fur by Elliot Routledge is a playful yet gently incisive sculptural work that reflects the artist’s ongoing exploration of abstraction, material contrast, and emotional nuance. Routledge — known for his vibrant public murals, graphic sensibility, and textural experiments across painting, sculpture, and installation — often works at the intersection of humour and introspection. His pieces frequently take on a character-like presence, suggesting personalities or emotional states without ever becoming literal.
In this work, a soft mound in blush-pink faux fur forms an inviting, almost creature-like volume, punctured by a single dark arrow. The combination of plush tactility and sudden disruption creates a sort of tension: softness meeting impact, vulnerability meeting intrusion. It hints at the way external forces — commentary, criticism, expectation — can land unexpectedly, echoing themes Routledge returns to in both his studio practice and his public work.
Faux Fur fabric
30 × 12 x H40cm
'Comment Section' Faux Fur by Elliot Routledge is a playful yet gently incisive sculptural work that reflects the artist’s ongoing exploration of abstraction, material contrast, and emotional nuance. Routledge — known for his vibrant public murals, graphic sensibility, and textural experiments across painting, sculpture, and installation — often works at the intersection of humour and introspection. His pieces frequently take on a character-like presence, suggesting personalities or emotional states without ever becoming literal.
In this work, a soft mound in blush-pink faux fur forms an inviting, almost creature-like volume, punctured by a single dark arrow. The combination of plush tactility and sudden disruption creates a sort of tension: softness meeting impact, vulnerability meeting intrusion. It hints at the way external forces — commentary, criticism, expectation — can land unexpectedly, echoing themes Routledge returns to in both his studio practice and his public work.
