Briggs’ ceramics are formulated uniquely to appeal to our senses of attraction and revulsion. Textural hyper-realism is combined with surreal or nightmarish combinations of form, the biomorphic forms accessing subconscious recesses to discuss notions of sexuality, curiosity and psychology. ‘Ages’ is a particularly complex form, a tight knot of fabric, flesh and unquantifiable matter (all ceramic) that appeals to our sensation to touch — and the horror of what might be discovered.
Briggs works to capture latent desire and psychosexual stimulation — his porcelain objects a twisted hybrid of sexual reference, attention to detail, focused tactility and overstimulation. The smoothed and polished undulations of this untitled piece are often undeniably, and perhaps revoltingly, flesh-like — semi-recognisable bodily appendages rising then sinking back into the writhing biomorphic whole — whilst others equate to the textures of upholstery or fabric. The artist often incorporates real hair or nail polish to heighten the sense of realism, which perversely serves to make the works more intense and grotesque.