Raqib Shaw: Paradise Lost.

Raqib Shaw’'s gloriously opulent paintings suggest a fantastical world full of intricate detail, rich colour, and jewel-like surfaces, all masking the intense violent and sexual nature of its imagery. Inspired by Hieronymous Bosch’'s fifteenth century visionary triptych, Shaw’'s series of works similarly titled ‘Garden of Earthly Delights’ celebrate a society free of any moral restraint. Populated with a wealth of hybrid creatures, Shaw portrays a dizzying scene of erotic hedonism, both explosive and gruesome in its debauchery. Fusing an array of vibrantly painted flora and fauna, Shaw creates an eco-system inhabited by figures such as phallus-headed birds, bug-eyed butterfly catchers, reptilian warriors or monkeys holding parasols, anthropomorphic in their gestures and regalia. Shaw's unique technique, where pools of enamel and metallic industrial paints are manipulated to the desired effect with a porcupine quill, meticulously enhances numerous details within the paintings, such as coral, feathers or flowers. Every motif is outlined in embossed gold, a technique to similar to ‘cloisonné’ found in early Asian pottery, which is a source of inspiration to Shaw, along with Uchikake (Japanese wedding kimonos), Byobu (screens), Hokusai prints, Kashmiri shawls, medieval heraldry and Persian miniatures, carpets and jewellery. Since 2006, one theme that has reoccurred within Raqib Shaw's imagery is the bestial coupling of an animal, ranging from a Lobster (Adam, 2008) to a Swan (Narcissus, 2011), which attacks a humanoid figure whose body is based on that of the artist himself. Shaw's appearance within his own bacchanalian power struggle and visionary world is further brought to life in a series of sculptural works, meticulously modelled and rendered - except for the crustacean, whose shell is adorned with a spectacular array of precious stones.