Our work deals with political and social thought. The forms we use to articulate our ideas often come from popular culture or are second hand, borrowed from another source. The way we put things together is witty, cheeky and aggressive; it mirrors the way we talk to each other. Context within our work is deliberately inconsistent. That inconsistency is our attempt to accommodate the messiness of the real world and allows different audiences different readings.

The lived-in, shabby aesthetic employed reflects the environments that excite us - the underfunded regional museum, the car boot sale, the dump; places where value systems are fluid, more confused or don’t exist at all. In these situations, forms and ideas have the potential to acquire alternate meanings and take on a new life. Through re-imagining objects and their identities we explore the processes of cultural transformation that take place after an object or idea has served its initial purpose. This re-cycling is a means of distilling useful agents; elements approaching redundancy are stripped down, re-formed and re-packaged. The results challenge the cleaner more commercial concerns of some other art forms and celebrate the possibilities of extreme behaviour and belief.

Doyle and Mallinson have exhibited internationally at major institutions, including Whitechapel Gallery London Open 2012 and Tate Britain, Rude Britannia 2010. Solo shows include Galerie Nostheide-Eycke, Germany, The Dog’s Dinner 2013; Venlo Stadhuis, NL Ecce Homo Erectus 2008 and MOT International London, Peristroma Dolorosa 2005. Shortlisted in the Artangel 100 in 2013 and featured on The Culture Show in 2010 for their ‘Fascist Fruit Boys’ in Tate Britain’s Rude Britannia, their work, including earlier solo projects is included in public and private collections including Saatchi Gallery, London and Odapark Centrum voor Hedendaagse Kunst, Venray NL. Doyle and Mallinson are represented by Paul Stolper, London.