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Rooted in the medium of performance, film and sculpture, Mads Bycroft’s work moves across the spectral and the post-natural, the human and animal, the intelligible and the opaque. Led by a grammar of transformation and ambiguity, Bycroft’s work inhabits a world of illegibility — one populated by marginal, queer, unpredictable creatures that resist definition. Reclaiming the figure of the monster — retrieved from the Latin word “monstrum”, meaning an extraordinary event or a divine sign of good or ill — Bycroft positions monstrosity not as deviance, but as potential.
Between birds, gargoyles and (non)recognisable beings, Bycroft’s figures appear hybrid and unfixed. Birds are particularly central to their work: known to be sensitive to environmental and meteorological changes, they are also historically linked to prophecy and close to the gods. The film The Sauce of All Order (2024), made during a residency at the Villa Medici in Rome, operates between myth and fantasy. U…
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Press Release
Rooted in the medium of performance, film and sculpture, Mads Bycroft’s work moves across the spectral and the post-natural, the human and animal, the intelligible and the opaque. Led by a grammar of transformation and ambiguity, Bycroft’s work inhabits a world of illegibility — one populated by marginal, queer, unpredictable creatures that resist definition. Reclaiming the figure of the monster — retrieved from the Latin word “monstrum”, meaning an extraordinary event or a divine sign of good or ill — Bycroft positions monstrosity not as deviance, but as potential.
Between birds, gargoyles and (non)recognisable beings, Bycroft’s figures appear hybrid and unfixed. Birds are particularly central to their work: known to be sensitive to environmental and meteorological changes, they are also historically linked to prophecy and close to the gods. The film The Sauce of All Order (2024), made during a residency at the Villa Medici in Rome, operates between myth and fantasy. U…
