Through cynicism and belligerent play, Jake Francis embodies the spirit of a snake oil salesman. Begrudging the role of ‘artist’ and it’s institutions, Jake inevitably relies on it’s cliches and tropes to make work and progress through its gilded halls - acutely aware of the hypocrisies associated in the process. By toying with preconceived structures, the artist attempts to reconvene personal, social, and trivial issue with simultaneous wit and intentional ignorance. In analysing the stereotypes of art as ‘freedom’ and artist as ‘misunderstood romantic’, Jake takes his resented roles and responsibilities in petty spite and as practice motivator; an endless barrage of humour through disdain, nihilism, and discomfort. When delving into the artist’s work, it is clear that he is caught in the uncomfortable, yet common bind of contemporary ‘progression’; a begrudged purveyor of outdated skills, and an inadequacy to move into new technologies. It is within this middle ground of aesthetic folly that the artist’s aggravation slips into brief cathartic expression. In short, Jake Francis is perhaps best placed as the classic playground bully - pulling on the pigtails of the girl he, quite ashamedly, has a soft spot for. 

Stoopid (2014)

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