Christopher Langton’s larger-than-life, pumped-up super beings for Melbourne Now seem to have stepped out of the pages of Japanese manga (comics). While playful and toy-like, the inflatable figures also unsettle through their reversal of the expected scale relationship between them and the viewer. Langton’s practice comments on consumer society through an aesthetic that references Pop Art and kitsch.
Supported by Corbett & Yueji Lyon
