In this new body of work, McIntosh re-contextualises derelict buildings in South East London and the surrounding areas while drawing on his ongoing interest in the political dispute between artists and the inevitable developments of the property market.
The seemingly neglected facades depicted in this series of paintings gesture towards abandoned interiors, absent of life. Within each of the 8 works, McIntosh offers the viewer an imaginary cross-section of part of the building, inviting us to gaze voyeuristically into a room. These exposed interior spaces manifest as brightly painted, surreal environments, seemingly at odds with their mundane locale. Within, McIntosh presents the viewer with an enigmatic pairing of objects. A work of art recognisably pertaining to the modernist canon is seen alongside an initially indecipherable sculptural form. On closer inspection, the darker function of these forms is revealed; each is a torture device.
By situating these surreal interior landscapes amidst the rubble of the everyday, McIntosh prompts his audience to peer deeper into the cultural values which lie beneath the surface of the city. These spaces can be read not only as architectural, but also as psychological; the interior of the building serves to reflect the inner space of the unconscious mind. In placing torture instruments and masterpieces of the modern world in close proximity to one another, McIntosh draws on the legacy of the cultural and political warfare of the 20th century, as well as referencing universal notions of creative strife.