Above Second is proud to present ‘GLOSS’, first solo exhibition with London-based graffiti, conceptual and fine artist INSA. A multimedia mix of large scale canvases, photography and limited edition prints, and his signature “Graffiti Fetish” pattern prints will be available for the first time in Hong Kong. 

“INSA’s work, contrary to some at first glace, speaks to an inquisitive and informed viewership.
His beautiful women flaunting oiled skin and high heels or brand named sneakers serve as modern icons and symbols of our lavish and unsustainable, even unhealthy, lifestyle.
Our obsession with sex, consumerism, and the female body - he uses the inherent “want” of humanity in this most modern context to show that it isn’t really about any of that.
The whole game is serving up exactly what is least anticipated.

Karl Marx argued, “Fetishism is ‘the religion of sensuous appetites’ [...] the fantasy of the appetites tricks the fetish worshipper into believing that an ‘inanimate object’ will give up its natural character to gratify his desires.”

This critique of contemporary consumer culture and commodity fetishism is personified throughout INSA’s works of immediacy and presence.”

- Juxtapoz Magazine

For the first time in Hong Kong, Limited Edition Prints (exclusive for HK) will be available at Above Second and FLY! Don’t miss out!

INSA is a fine artist and designer who had established himself from a graffiti background through extensive street level work and gallery shows around the world. Throughout his career, INSA has allowed himself to explore different approaches and outlets for his artistic agenda, including designing signature collections for brands such as Kangol, NIKE and Oki-Ni, as well as starting his own heel company ‘INSA HEELS’. He has undertaken many private commissions including recent works displayed at TATE Britain.

INSA’s canvases and installations are often hyper real, finely crafted creations in which sexual desire and commodity-fetishism merge and contrast. Always with a heavy sense of irony, INSA visually exaggerates the notion of objectification meets commoditization with graphically depicted oversized body parts that are suspended in the controlled architectural lines of a sneaker or bold black and white graphic patterns. INSA uses these powerful patterns to play with and distort the spaces where his work is installed to entice the viewer into the ‘fantasy’; a shallow fantasy of materialistic aspiration where sexual objectification is flaunted as a symbol of wealth and success.