Take That You Bastard

'Take That You Bastard' (1972) - Wilja, hammer on board

From the prominent feminist artist/potato farmer Karen Duck comes this treatise on the gender politics of the day. The hammer violence brought to bear on the formerly dick-shaped potato gives the viewer a sense of warmth and security. Notice how the mashed remains resemble both a vitriolic revenge attack on a totem of manhood and yet, conversely, male ejaculate which would imply a sense of welcoming the brutality; thoroughly confusing the issue. It provokes the viewer.

Hoof

'Hoof' (1987) - Amora on gauze

Simply titled 'hoof' this pivotal work from Arthur K. Belch gives the implicit arrival of the elusive Taurus Tuberosum or Potatox as it is more commonly known. Prized for their singing voices, the Potatox was all but hunted out of the wild by jealous song-birds. This work leaves the viewer feeling elated, such as after a peculiar abdominal pain passes. Which in turn, provokes the viewer.

Humanoid Joy Through The Portal

'Humanoid Joy Through The Portal' (1993) - Maris Piper on acrylic

An experiment in Facless-Expressionism, this work from Kenneth Hobble conveys a subversive joy of discovery (namely humanities discovery by other species). Its smooth face implies simultaneously that this is an unknowable creature, and yet it is a blank; a template; it could indeed be ourselves. It provokes the viewer.

'Splinters Of Lost Thoughts'

Splinters Of Lost Thoughts (1932) - Photographic Print

This scene from the 1930 Mexican Potato Boxing championships in Mexico City shows the split-second before AlFuego 'Mighty Fists' Tentopoles was knocked clean out by Erriodor 'Eight Flip-Flops' TelGartier. It marks Tentopoles' departure from professional boxing and into the art world. He has no memory of this pivotal moment and so this photograph was fittingly his first work. Notice how the referee in the top left of the image looks quite provoked. It provokes the viewer.

'La Familia'

'La Familia' (1976) - Maris Piper on crepe

Benruli Peendoppio envisaged this glorious experiment in form over a game of strip-Jenga. It posits that a parent's children are miniature clones of children's parents. Notice the 'males' seem to face away while the 'females' lean towards each other. It provokes the viewer.

'The Spiritual Possibility Of Hunger In The Belly Of A Cherub'

The Spiritual Possibility Of Hunger In The Belly Of A Cherub (1991) - Amora on cotton

This pivotal work, part of a series of 'foods that look like other foods', was conceived by artist Lucius Skipper whilst visiting the supermarket with his mother and noting the contrast between her absolute faith in the nutritional value of modern food, but her scepticism of modern art. Valued at around £9.6 million, it provokes in the viewer a profound, primal fear.

'Our History Precedes Us'

'Our History Precedes Us' (2004) - Amora on cotton

With his highly celebrated works in the East London Kind-Of-Obvious-But-Ok-And-What? movement of the early 2000s, artist Keith Horse produced his seminal work in this piece where the symbolism is clearly highlighted by the detail on the upper right. It is, of course, a preserved Tuberocolops fossil found in the Nevada Desert in 1921; itself dating from ~199.82 million years ago just before the major mass extinction that knocked out the species' dominance of Earth at the time. It provokes the viewer.

'Bridge'

'Bridge' (1996) - Maris Piper on ceramic, cotton

This biting satire of the 1995 Polympic Horse-Wrestling travesty spreads it's weight and energy with supreme confidence. Notice the detail below the middle portion, outlining the sincerely held political views of artist Terence Humper. It provokes the viewer.

'Totem'

'Totem' (1985) - Fambo on brick, acrylic

This prescient work devolves the ancient ideals of the post-modern with retro-active exploration matching the subliminal dissimilitude of our tribal beginnings with the counter-pointed refulgence of outer space as brickwork on a 3-dimensional puzzle. It provokes the viewer.

'The Loveliest Potato'

'The Loveliest Potato' (1924) - Marfona on pine

This daring piece came from Helena Vennlenenna as a reaction to the state ban on hugs and kisses in her native country of Lithuania during the inter-war period. Notice the detail on the lower left area. Undeniably a brave effort.

'The Mud Settles Handsomely on the Tuberous Appendage in the Pale Minnow-Light of a Dying Camel-Fat Fueled Yurt Fire

'The Mud...' (2002) - Fambo on ink

Medzin Kantropulou, an artist famously concise in interviews, subverts expectation in this highly dangerous piece of work. Competing at fine art slams on the hard streets of Notting Hill Gate he produced this unprecedented criticism of his parents and their refusal to fund his 8th gap year in London.

'Mother'

'Mother' (1994) - Wilja on silk

Artist Corben De Dooblins here provokes the viewer intensely with an organic symmetry undercut by a sensuous protusion at the top of this, his final sculpture before his tragic paralysis in a freak accident at his local Christian Extreme White Water Rafting club. Truly a work of art that can be understood in this context.

'Swollen Bollock'

'Swollen Bollock' (1945) - Marfona on silk

Sandra Koodle's immense contribution to the art world reached it's peak with this suggestive work. Clearly an allusion to the impending baby boom following the end of the war, Koodle welcomed home the rugged soldiers regularly at her farmhouse in upstate New York, relishing the physical effect of war upon their bodies. It provokes the viewer.

'Spud Gun'

'Spud Gun' (1963) - Saxon on brick

After the tragic suicide of artist Michel Spanky's favourite dairy cow, an almost fetish-like obsession with instruments of killing manifested. She became convinced the suicide was one of suspicious circumstances, daily confronting the local farmers and gypsies. One is compelled to ask, who is being interogated out of frame? Will bovine justice ever be served? It provokes the viewer.

'El Submarino'

'El Submarino' (1982) - Maris Piper on metal

Truly a prophetic piece by the irreverent Spanish sculptor Pablo Deringo, highlighting a voyage that would later inform his work in South American roots movement. It provokes the viewer.

'Flirt'

'Flirt' (1994) - Wilja on board

An uncharacteristically dark piece of work from the prominent Tiino Miguelarez-Constantinople Smith, showing what is clearly an allusion to the decaying nature of sexual relations. It provokes the veiwer.

'De Badeend' or 'The Rubber Ducky'

'De Badeend' (1976) - Fambo on wood, 10cm x 6cm

This whimsical, considered piece by the Dutch master Klaus van der Krigbondstendenheimen utilises the organic contrapositive in this seminal work from his brown period. It enhances the supposition of ablution while being quite literally soiled. It provokes the viewer.