Fig. 5 Ricky Swallow Everything is Nothing 2003 Laminated Jelutong, milliput 21.6 x 32 x 14 em Lindemann Collection, Miami Beach
Fig. 6 Ricky Swa llow Flying on the Ground is Wrong 2005 Bronze
15X4X5Cm Edition of 12 w it h 5 Artist's Proofs
to thoroughly established artist was neither unique to him, nor did it prevent the possibility of an equally rapid descent (or, rather, decay) into obscurity. The sculpture thus wryly recognised the precarious conditions of fame and, more importantly, the inextricability of Swallow (both as an artist and a "brand") from the art world's fetishism of his practice as its latest fashion. Swallow's shift of attention from a canny marketing of the self to its subjection by the market was made most acute, however, in the context of the zoos Venice Biennale. This was not in the form of the overt (self-)portrait of a skeleton