Saatchi Yates is delighted to announce a solo exhibition by the rising multidisciplinary artist Toby Grant, often known as Cato (b. 1999, Brighton). This exhibition presents a physique of labor that focuses on the Black group inside his South London orbit, capturing home and communal life in barbershops, diners, and residential interiors. The subject material options figures in on a regular basis settings — taking part in devices, making artwork, and sharing meals — inviting viewers into intimate areas the place historical past, tradition, and reminiscence come collectively.
Cato invitations individuals from his group into his studio to take a seat for him and be photographed. He makes use of streetcasters in Peckham to scout individuals whose photos function the inspiration for his work. He cuts, collages, and layers these pictures, paying homage to Henri Matisse’s cut-out methods, making a dynamic rhythm within the works whereas additionally capturing expression, gesture, and a powerful sense of group. His compositions typically exaggerate palms and heads, emphasizing gesture and emotion, whereas his distinctive use of vibrant color animates every scene. For this physique of labor, Cato has painted iconic London figures Jadasea and Jenn Nkiru.
“I paint what I need to see. I make these worlds for myself to reside in. I’m attempting to speak to my heroes…” Cato says. “I need to be somebody who youngsters like me can look as much as. I hope some child appears at my work and might’t sleep as a result of he’s dreaming.”
On this sequence, Cato provides higher narrative element to his characters. One portray depicts an artist in his studio, surrounded by paint, brushes, and canvases, with works pinned to the partitions that reference Cubism. A digital camera and a Picasso ebook relaxation on a desk, whereas the again of 1 canvas bears the signature ‘Cato ’25’. The scene additionally consists of an elder determine seated in a chair, with a feminine determine beside him — maybe a imaginative and prescient of the long run he imagines, each personally and creatively.
One other work exhibits three trendy Black ladies in a hair salon, their poses echoing a Ronettes poster on the wall. By way of these vignettes, he blends real-life commentary with imaginative storytelling, creating wealthy, intimate portraits of Black life. His topics are handled with a Warholian consideration, giving them a lightweight and visibility hardly ever portrayed in up to date portray. Cato’s apply items collectively imagined household histories, mixing studio portraits with discovered household pictures of distant kinfolk, creating connections throughout time and diaspora.
