So, Liverpool’s this amazing place that you can’t help but fall in love with once you’ve spent some time there. It means so much to so many people, but that’s not to say it’s all perfect. I took this as an analogy for aesthetics having no baring on the potential potency of art works.
I took this image (a photo I took of a Liverpool street corner) and set it against the portrait of Mona Lisa, covering the subject and only including the enigmatic backdrop.
Nothing’s perfect. Everything’s perfect.

'Utopia', Digital Collage,
D. Amos, 2014

Items obtained through ‘No Sallery Gallery’- an event organised to exchange Art for things of worth to the artist.
Exchanges ranged from Zippo lighters to haircuts.

'Saliva Stream and Wood'

Digital Collage, 2014
D. Amos 

'Main Course: Discourse', 2013

This piece took the form of a meal, bringing together art critics/writers, students of LJMU, Dutch Arts Institute, Van Abbemuseum, practitioners, curators, lecturers and museum owners around a table and equal platform to informally discuss the topic “the future of the art school in contemporary society” within a gallery environment.

Hosted at METAL Gallery, Liverpool

Reproduction
2014

Black vs White
2011
D. Amos
Oil on Found Object

Map #20
oil paint, acrylic, charcoal, saliva, parcel paper, semen, masking tape, linseed oil. spray paint, pastels, canvas
2011

D. Amos

During a residency in Athens, 2011, the day after the protests against Greece being dropped from the Euro and shunned from the EU I produced a video piece which looked at the British media portrayal of evens within Greece at the time.

Prominently I was astounded by the way the media was portraying the INDIVIDUALS involved with the protests as thugs and rioters and vandals and how those involved were completely oblivious to their media portrayal.

In response to this I visited Syntagma (the epicenter of the protests) and drew a Venn Diagram at the entrance to the subway which, when passed over by unsuspecting Greek citizens, acted as a metaphor for the redundant efforts of the media to marginalise a populace within hypothetical spheres.

http://www.mobileartschoolathens.org/counter-public-spheres.html

'NO DIRECTION' intervention. 2013

Artist Yal Ton (Eric Bridgman) and myself built effigies of One Direction as symbols of stylised idealism in culture and art. These figures were then unceremoniously burned outside of The Royal Standard art gallery, Liverpool.

Detourned Solomon J Solomon painting 

'Pure Shan' 2014
Digital Image

D. Amos

'Figure of a Woman' 2013
Mixed Media on Paper

D. Amos

'Pua Bird'
Digital Collage
D. Amos 2013

Edinburgh

'Mount' 2013
on paper
D. Amos