Ashley Bickerton

[3] Bickerton graduated from the California Institute of the Arts in 1982, then moved to New York City to attend the Whitney Museum Independent Study Program.

[11] The focus of the works is about the ongoing corruption of Bali that he witnessed being a resident there, with the styles greatly influenced by Paul Gauguin, for whom he held a perennial obsession.

Entitled "Ornamental Hysteria" and spanning more than three decades of the artist's career, the exhibition presented 51 works, many of which were new and previously unexhibited pieces.

Amongst the featured works was Canoe, Shark, Woman (2016), a sculpture created in Yogyakarta Art Lab, which The Guardian[12] described as "[having] the look of the ritual artefact of Bickerton’s tropical island obsession, creating a power object or fetish (as islanders do) with found objects (fish, flowers, beads) that is the more hypnotic for its solemn parody – silver vestal offering a hammerhead shark, coconuts in her Indonesian canoe".

His show at Lehmann Maupin gallery, titled Seascapes at the End of History, includes art objects from his Ocean Chunk series that were first conceived while living in New York City prior to his relocation to the Indonesian island of Bali in 1993.

The mixed-media pieces he made in collaboration with the Singapore Tyler Print Institute are "spooky" images of green-skinned creatures emerging from a sea littered with cans and bottles.

Originally derived from clay models the artist created in his Bali studio, they were reinvented in Jogjakarta in a variety of archival materials centered on cast aluminum.

[17] Bickerton continued to develop work within his established themes and iconography of tropical surrealism, green-headed characters, and assemblages.

2014 marked the start of a new series of Silver Ladies, which are manifested in a double portrait of two identical subjects, beautiful young Balinese women, nude except for a floral sash around their hips and coronas of tropical flowers.