Curator Dan Cameron thinks of Pierre et Gilles as a ‘gay Norman Rockwell’ and it’s not hard to see why. The French collaborators’ painted photographs are a riotous and subversive journey into kitsch, merging classic chocolate-box sweetness with high-camp farce and decorating the spectacle with copious bushels of fake flowers. The elaborately staged images are both titillating, unsettling and often hilarious. A bid to parlay their cult standing in the worlds of camp and fashion into art world kudos.
