Grand gestures: Mark Wallinger gets his hands dirty at Hauser & Wirth

Where’s Wallinger? Everywhere and nowhere, it seems, at the British artist’s latest exhibition. Presenting new paintings and multi-media works in ‘ID’, Hauser & Wirth has given over both of its Savile Row salons in London to Mark Wallinger’s debut solo exhibition at the gallery.
Traces of Wallinger are threaded through the show; like a crime scene we feel compelled to search for clues – some more obvious than others – and by extension the culprit. In the opening work, Ego, 2016, Wallinger recalls Michelangelo’s Creation of Adam with his own hands in a minute pair of iPhone photographs (perhaps joining Alec Soth’s new school of ‘unselfies’).
The artist’s monumental new series of id paintings take pride of place in the North Gallery. Derived from Sigmund Freud’s notion of ‘id’ – the component of our personality structures that fuel our basic, instinctual drives – they bear an overt, immediate resemblance to Rorschach’s inkblots. Less explicitly, they recall the bilateral symmetry of Leonardo da Vinci’s Vitruvian Man in that each canvas is the width of Wallinger’s 1.8m span, and double that again in height.
‘The paintings are made with instinct, sometimes blindly, intuitively and/or in a dialogue,’ explains Wallinger in his exhibition notes. The works’ deceptively impeccable symmetry belies his hands-on approach; the artist covers half of the canvas with his paint-laden hands, before flipping it and continuing. ‘Painting is not usually experienced as a time-based medium. The painting is ready for the viewer when the work is done,’ he adds. ‘But [id] is the antithesis – the painting is a starting point, a cue for the serious work of the viewer to begin.’
Wallinger completes his Freudian trifecta in the South Gallery with another new work, Super Ego, 2016: a mirrored homage to the revolving New Scotland Yard sign. He offers us another clue, another piece of himself: the motorised sculpture is erected directly opposite the West End Central Police Station where the artist was taken in 1986 after an assault during a violent protest.
There’s no escaping Super Ego’s pansophical gaze, a reflection of the ‘ceaseless energy and vigilance of the police’. The omnipresent artist looms large, but invisibly, embodied by his all-seeing totem.
Elsewhere, the artist sends us spinning in a video work presented across four screens – one for each season – tracing a commemorative oak tree at the centre of a roundabout in Barkingside. Wallinger circles around it in his car, capturing it on an iPhone Blu-Tacked to the window. It’s another chapter in his autobiographical show – it was the first roundabout he tackled as a learner driver. Round and round we go, as Wallinger pulls us into his orbit.
At last, we catch up to Wallinger, now in the role of flâneur, in Shadow Walker, 2011 – or so he has us believe. The artist remains ever elusive and, like Peter Pan, we are left chasing a shadow.
The exhibition opens with Ego, 2016, a playful riff on Michelangelo's Creation of Adam. Two iPhone photographs depict the hands of their creator (that's Wallinger)
The remainder of the North Gallery is devoted to a new body of work – the monumental id paintings – in which Wallinger created symmetrical gestures in paint using his hands
His height forms the basis of the canvas size, as each is the width of Wallinger’s 1.8m span, and double that again in height, recalling the bilateral symmetry of Leonardo da Vinci's Vitruvian Man
In the South Gallery, Superego, 2016, is a rotating mirrored installation inspired by the revolving New Scotland Yard sign
Orrery, 2016, is a video work presented across four screens – one for each season – tracing a commemorative oak tree at the centre of a roundabout in Barkingside as Wallinger circles around it
The artist captures his shadow along Shaftesbury Avenue in Shadow Walker (left), 2011, while Ever Since (right), 2012, is a seemingly endless, life-sized projection of a barber's shop front
INFORMATION
‘ID’ is on view until 7 May. For more information, visit the Hauser & Wirth website
Photography: Ken Adlard. Images copyright Mark Wallinger. Courtesy of the artist and Hauser & Wirth
ADDRESS
Hauser & Wirth
23 Savile Row
London, W1S 2ET
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
-
A street-like Pune clubhouse celebrates the ‘joy of shared, unhurried experiences’
A brick clubhouse in Pune by Studio VDGA reflects the fluidity and openness of the Indian way of life with a series of welcoming plazas, courtyards and lanes
-
A 432 Park Avenue apartment is an art-filled family home among the clouds
At 432 Park Avenue, inside and outside compete for starring roles; welcome to a skyscraping, art-filled apartment in Midtown Manhattan
-
Kitchen Trends 2026: luminosity, colour, and unexpected materiality
These are kitchen trends shaping interior design in 2026, from collaborative kitchens to warm luminosity
-
Shop the gloriously mad inner workings of Gary Card’s brain in London’s Soho
Set designer and artist Gary Card has taken over London's Plaster Store – expect chaos and some really good accessories
-
Meet the New York-based artists destabilising the boundaries of society
A new show in London presents seven young New York-based artists who are pushing against the borders between refined aesthetics and primal materiality
-
Cindy Sherman in Menorca: ‘She's decades ahead of social media and the construction of identity for the camera’
‘Cindy Sherman: The Women’, its title a nod to an image-conscious 1930s Broadway hit, takes the American artist's carefully constructed, highly performative works to Hauser & Wirth Menorca
-
Leila Bartell’s cloudscapes are breezily distorted, a response to an evermore digital world
‘Memory Fields’ is the London-based artist’s solo exhibition at Tristan Hoare Gallery (until 25 July 2025)
-
A bespoke 40m mixed-media dragon is the centrepiece of Glastonbury’s new chill-out area
New for 2025 is Dragon's Tail – a space to offer some calm within Glastonbury’s late-night area with artwork by Edgar Phillips at its heart
-
Emerging artist Kasia Wozniak’s traditional photography techniques make for ethereal images
Wozniak’s photographs, taken with a 19th-century Gandolfi camera, are currently on show at Incubator, London
-
Vincent Van Gogh and Anselm Kiefer are in rich and intimate dialogue at the Royal Academy of Arts
German artist Anselm Kiefer has paid tribute to Van Gogh throughout his career. When their work is viewed together, a rich relationship is revealed
-
Alice Adams, Louise Bourgeois, and Eva Hesse delve into art’s ‘uckiness’ at The Courtauld
New exhibition ‘Abstract Erotic’ (until 14 September 2025) sees artists experiment with the grotesque