Uncategorized
Please Stop Naming Things
Five untitled objects (various materials), laminated labels (blank), an interactive naming station (non-functional), and a recorded apology.
Please Stop Naming Things is an urgent plea against categorisation, a direct confrontation with language’s futile attempt to impose order onto the unordered. The installation consists of five completely unidentifiable objects, each placed on its own pristine white plinth. They resist classification. They are not sculptures, nor are they functional. They are simply there, refusing to confirm or deny their own purpose.
Each plinth features a laminated museum-style label beneath it. The labels are blank.
At the far end of the gallery, visitors encounter what appears to be an interactive station labeled Name this Object. It consists of a touchscreen and a keyboard, inviting participants to define what cannot be defined. However, the touchscreen does not respond. The keyboard is not plugged in. The act of naming has been made impossible.
A soft voice plays over hidden speakers every six minutes. It simply says, “We’re sorry, but that name is already taken.”
“A thing does not need a name to exist. It does not need a category to matter. A chair is only a chair because someone pointed at it and said so. What if we stopped pointing?”
— Davos
This work operates in the liminal space between language and objecthood. Taking cues from minimalist sculpture, conceptual negation, and the failures of taxonomy, Please Stop Naming Things refuses to participate in the viewer’s desperate need for identification.
The five objects—made of unspecified materials—offer no clues to their origins or intended use. Are they industrial remnants? Sculptural gestures? Forgotten tools? Each visitor arrives with their own assumptions, only to be confronted with a complete lack of confirmation. The interactive naming station, a cruel mirage of participation, heightens the frustration. The recorded apology, played at irregular intervals, taunts those who attempt to impose meaning.
It is unclear whether the apology is sincere.
• The touchscreen is non-functional. No amount of pressing will change this.
• If you feel an overwhelming urge to classify what you see, please sit with that feeling until it passes.
Price: £540,000 (includes all five objects, blank labels, and a certificate that simply states “It Exists.”)
Monaco #4
In Monaco, Hedge Fund crafts a richly stylized exploration of luxury, geography, and the tenuous relationship between humanity and the environment. The composition juxtaposes the rigid architectural splendor of the principality’s storied edifices with the raw, untamed cliffs that support them—a precarious balance that mirrors the fragile coexistence of wealth and nature.
The piece’s deliberate flattening of detail into bold, graphic contrasts eschews realism in favor of a pop-art sensibility, underscoring the constructed artifice of the subject matter. The muted, sunlit facades of the buildings—rendered in warm ochres, dusty pinks, and subdued oranges—suggest timeless wealth and refinement. Yet their precarious perch atop the jagged greenery hints at the fragility of their dominance, as if even the grandest structures can be humbled by the relentless forces of nature.
Hedge Fund’s choice of color is particularly telling: the azure sky and deep greens lend a Mediterranean vibrancy, while the muted palette of the harbor in the background reduces the ostentatious yachts and modernity of the port to an understated blur. This selective emphasis seems intentional, as if to critique the fleeting opulence of human endeavors against the enduring backdrop of nature. The lush vegetation, rendered in almost chaotic strokes, serves as a reminder of the organic world that underpins and ultimately outlasts the grand ambitions perched atop it.
Thematically, Monaco encapsulates a tension between permanence and impermanence. The grandeur of the architecture may stand as a monument to human achievement, yet its tenuous foundation on the edge of the cliff feels almost defiant, a metaphor for the excess and risk inherent in luxury. Hedge Fund’s work invites the viewer to marvel at the beauty of this tension while questioning the sustainability of such a precarious coexistence. It is at once an ode to grandeur and a subtle critique of hubris.
Harry Herford – 21st Century version of a 19th Century photographist
Harry Herford (Harance to his friends) calls himself a photographist, modelling his practice on the 1800s when photographers were known as photographists.
”My heroes are men and women like Shotgun Adams, the cowboy/photographist who rode with Jesse James and Billy the Kid, Maisie Condor, the first person to build a pinhole camera in Rochester and Sata Ko’, who made the world’s biggest camera obscura out of a disused cathedral in Wellington.”
Herford refuses to use any technology less than 100 years old, which is one reason why his stint as a paparazzo for the British tabloids didn’t last long. “As I was using a pinhole camera I needed the celebrities to stand still for three minutes for me to capture their likeness. Unfortunately most of them refused and all I had to offer the editor were different color blurs, which he threw back in my face. Actually I still believe they say more about the subject than any so called ‘accurate’ photos and intend to have an exhibition of ‘Celebrity Blurs’, in the upcoming months.
Harry works with discerning clients who appreciate the ethereal beauty of pinhole cameras, camerae obscurae and other ancient forms of photography.
Robbie A. Thompson
Abstract artist
Stephanie Falco
Our current exhibition is a retrospective of Stephanie Falco’s career, including her carbon dating pieces and the maps of her journeys around European cities by electric skateboard.
NB
To be serious for a moment…
Thanks for visiting Pimlico Wilde. If you have spent much time here you probably have some questions.
This might help clear things up.
TL;DR The art here is real, you can buy it and commission it. But Pimlico Wilde, its artists, artworks and surrounding fiction and world-building is an ongoing work of art by one fine artist.
The same information but in more detail:
Pimlico Wilde is an art dealership run by one artist, who creates all the artworks that you see on the site. All the artists currently sold by Pimlico Wilde are pseudonyms of this artist, who can be seen as a character artist, (somewhat in the mould of a character comedian), creating new personae for different types of work.
Whilst the work is real and you can easily order commissions in any style, the artists’ outrageous statements, exhibitions and histories are usually a fiction, building back stories that question what is real whilst providing a commentary on the art world and life in general. Any over-the-top praise from so-called art critics should be taken with a shovel of salt.
All the artworks for sale exist in and amongst the tales that are woven around them. The different styles are referred to as different artists, but ultimately one artist is the fons et origio of them all.
We welcome you to enjoy both the works and the stories behind them, add them to your collection and become part of the Pimlico Wilde journey.