When we stand in front of Elliot Hundley’s huge collage, we are overwhelmed by the profusion of materials that are hard to take in either physically or mentally. Our gaze is forced to slow down, as we examine the myriad small details, which, together with rocks, seashells, driftwood and steel wire, are neatly fastened with pins like insects on a giant bulletin board, or cultural flotsam and jetsam washed ashore on the coast of California, where the artist lives. The work hovers somewhere between the order of a collector and wild, associative chaos, featuring references to the artist’s long family history, Greek tragedies and the classical mythology that recurs throughout Elliot Hundley’s work. In his works, the fragments of a profoundly personal story and historical references come together in new contexts, worlds and narratives: for example, when the titles refer to antiquity and Greek mythology, while the small, cut-out human characters are friends of the artist who posed for him in his studio. The great mythology and the small, personal story are woven together in an open work, and there is no single route through the material. As the artist himself puts it: “I think the myths are effective, because they are not moralising. They acknowledge the conflict that is eternal and unresolved. The sculptures embody the conflict or conversation. Never the solution.”