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This Run
Tue, Sep 29 - Sat, Oct 10
RUN #00677
Insa - Self Reflection Is Greater Than Self Projection
Self Reflection Is Greater Than Self Projection
Part of Archive Access   View Entire Series
1 Available    |    Edition Size:   10
36 x 36 Inches 3D Stereoscopic Lenticular Archival Print
$ 1000.00
"These lenticular pieces are based off of an installation that I did in April of 2012. The installation piece is my most obviously paradoxical to date. Having built the my brand through reiterating issues of the female body and commodity fetishism, here, amid a swirling cacophony of bikini clad women and chrome, the audience is assured that ‘Self Reflection is Greater than Self Projection’. " - Insa

Read on for more information below...

This RUN comes with a signed numbered Certificate of Authenticity from Insa and 1xRUN.

Discuss This Run

Insa Debuts For Pow Wow 2014 With Self Reflection Is Greater Than Self Projection

1xRUN Thru Interview
Self Reflection is Greater than Self Projection by Insa

1xRun: Tell us a bit about this piece…
These lenticular pieces are based off of an installation that I did in April of 2012. The installation piece is my most obviously paradoxical to date. Having built the my brand through reiterating issues of the female body and commodity fetishism, here, amid a swirling cacophony of bikini clad women and chrome, the audience is assured that ‘Self Reflection is Greater than Self Projection’. 

Read on below for more information behind Insa’s Self Reflection Is Greater Than Self Projection…


This new installation piece is INSA’s most obviously paradoxical to date. Having built the INSA ‘brand’ through reiterating issues of the female body and commodity fetishism, here, amid a swirling cacophony of bikini clad women and chrome, the audience is assured that ‘Self Reflection is Greater than Self Projection’.

The work is a maelstrom of spheres reflecting a distorted and sexually exaggerated view of two women gesticulating amongst the chaos. Glimpses of a black and white striped background behind these spheres hint at, albeit briefly, some sort of superseded purity as the irrepressible foreground pushes its way back into focus. To produce the work, INSA constructed an 8ft x 8ft box, painted the interior with disorientating stripes with one wall made of reflective chrome spheres. With the cameras and flashes set to record remotely, INSA actively removed himself from participating in this process. In pitch black, and with the camera only recording the deceptive reflections with each flash cycle, the photographer and the girls were equally distant from the end results. Thus, the final imagery’s depiction of make-believe is further deepened and the artist is no more engaged with the fantasy/ reality than the viewer. The optical illusion created by the digitally printed vinyl melds the walls into each other to encircle the viewer in this disarming reality. Alluring and grotesque in equal parts; INSA’s work once again challenges our notions of attainment and success, questioning a culture obsessed with image and money and our own culpability and complicity in it. Even if we want no part in it, can we ever avoid being voyeurs of these two girls and the INSA bubble they inhabit?
insa233‘Self Reflection is Greater than Self Projection’ is loaded with the iconic and counterpointed themes familiar in INSA’s work: that the ideal of projected success is different from that of genuine happiness reflecting the innate conflict of who we really are and who we strive to be. INSA’s art regurgitates stereotypes, but this repeated imagery, apparently gratuitous, aims to disrupt without simplistically rejecting the images that surround us. Instead, INSA calls on us to confront our own contradictions when we are drawn into the objectification of women’s bodies, and aligns this relationship of desire with the insatiable lusts of consumerism. It’s clear that success in this world is measured unequivocally by fame, money, and beautiful women in high heels. With no little degree of irony, INSA’s constructed reality has created an artistic brand as synonymous with attainment and success in the real world as the oiled and pouting women depicted in his imagery.


This world is a hyper-reality, in contrast to the artist’s own lifestyle, but one in which his fans across the globe often go to incredible lengths to take part in. In Spring 2011 the artist announced an open competition on his website,, where people were asked to swap something in return for a limited edition INSA and NIKE bootleg t-shirt. Epitomizing the cult appeal surrounding his work, the successful winners included those individuals who tattooed their bodies with INSA artwork and one who named their first born child under the artist’s moniker. Another one of the successful participants was Francesca Selby from the wall coverings agency PaperGraphics who donated the vinyl covering that provides the canvas for this installation, a very generous swap that finds herself at the heart of INSA’s coveted and immersive world.


It may not be obvious at first glance, but INSA’s work is an astutely calculated critique of society, commodity fetishism and many of the ardent cravings of life in the 21st century. He throws our desires in our face and tells us to love them and become them, while at the same time trying to hope that there must be more to our life than this. It’s for this reason that INSA’s oeuvre, and this latest installation in particular, are crucial components of contemporary cultural criticism today.



About the Artist

Location: London, England

A graduate of Goldsmith’s, London, British artist and designer INSA began his career as a graffiti writer, painting streets and buildings as he travelled.Soon becoming known for his now trademark ‘graffiti fetish’ pattern, INSA’s work is now held in the V&A collection, and has been presented at Tate Britain, London.Outside of the UK, INSA has left his mark in major cities around the world including; Tokyo, LA, New York, San Francisco Luxembourg, Lisbon, Hong Kong, Warsaw, Berlin, Brussels and Montreal.

Often touching on polemical issues, INSA’s work unpicks some of the apocryphal stories of today: departing from some of the symbols of modern aspirations, INSA’s visual motifs confront the fetishisation of products in modern society, and the commodification of success and ambition.The paradoxical nature of his work questions both his own position as an artist in a consumerist world, and collective ideals in our society. Also key to INSA’s output is a pervasive sense of irony and self-deprecating humour, that has made his work accessible and enjoyable to many kinds of viewer, in many different contexts; from the conventional gallery space to the streets of an inner city neighbourhood.

INSA’s early practice - creating high impact and often ephemeral works - has undoubtedly informed his experimental approach with new media in recent years. INSA has independently built a veritable empire which encompasses furniture and clothing design, and his own high heel company, to custom cars and much more. From public installations to large scale commercial projects, works often only appear in very limited editions, or for a short amount of time, showing the artist’s continued interest in confounding concepts of time and space, the way in which we process and consume, and the transience of objects.

Always keen to push boundaries and innovate further, INSA has gained a huge following for his work globally, and which he has expanded through his recent experiments with social and digital media. His most recent product design - a limited edition release of digital print INSA leggings - sold out in just 6 minutes, using only Instagram and Twitter as platforms.

Another important facet of INSA’s practice is the ‘GIF-ITI’, a term the artist coined when he began to create the first ever GIF animations of graffiti work; a meticulous and labour-intensive process often requiring the artist to repaint an entire wall by hand several times.

INSA’s unique GIF-ITI invention has captured audiences by creating street art that paradoxically only exists online, as a 600 pixel wide image. His most recent GIF-ITI creation was a collaboration with Stanley Donwood for XL Records, ‘Hollywood Dooom’, a special commission to celebrate the release of a new album for Atoms for Peace.

INSA’s impressive client base counts commissions for private collectors, celebrities and major brands as well as product collaborations with Kangol, Oki-Ni and NIKE. His custom designs for NIKE were so popular that fakes appeared on the market from China, even though the originals were never for sale. As part of the artist’s ‘swapshop’ project in 2011 - one of his ongoing interactive experiments online, and further demonstration of his prowess at stirring worldwide audiences to a frenzy - fans and followers were asked to propose ‘swaps’ in return for a bootleg INSA x NIKE t-shirt. The offers elicited were astounding - one US citizen bid to name her first born child after the artist, while other fans were tattooed with INSA artwork to claim their prize.

Other recent significant moments include an invitation to curate and sculpt a room in the ICE hotel, Sweden, 2010. In February 2012, INSA produced a short film for Channel 4’s Random Acts, ‘Looking for Love in All The Wrong Places’, again demonstrating his ability to play with a wide range of media.

Press highlights include covers for cult print magazines including Juxtapoz, Graphotism and VNA. Recent solo exhibitions include: Self Reflection is Greater than Self Projection, (Londonnewcastle Project Space, London) Belong/Belongings (Yves LaRoche Project space, Montreal) Gloss (Above Second Gallery, Hong Kong, Girls on Bikes, (Hewett Street Gallery, London), MORE MORE MORE (Fifty24SF Galley, San Fransisco.

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