Wire report
Jonathan Baldock: Held review – lick me, trap me, pull me in
Arnolfini, Bristol The English artist has created a tense world of folkloric psychedelia and pagan aesthetics that is weird, threatening – and utterly compelling Arms are spread, hands are grasping, lips are puckered: everything in Jonathan Baldock’s eerie, uncomfortable, strange exhibition of tapestries and ceramics at Bristol’s Arnolfini is reaching out to you. The whole exhibition is an invitation to be held, or maybe its cuddliness is a threat, a violent trap. The English artist has created a tense world of folkloric psychedelia and pagan aesthetics here. Don’t read any of the bumf on the wall, it’s couched in gentle, therapy-lite language about “radical gestures” and “holding space for queer and working-class stories”. It doesn’t fit the show. Not that this isn’t about queerness and the working class, because it absolutely is. It’s just that this isn’t gentle and soft art, it’s weir
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Arnolfini, Bristol The English artist has created a tense world of folkloric psychedelia and pagan aesthetics that is weird, threatening – and utterly compelling Arms are spread, hands are grasping, lips are puckered: everything in Jonathan Baldock’s eerie, uncomfortable, strange exhibition of tapestries and ceramics at Bristol’s Arnolfini is reaching out to you. The whole exhibition is an invitation to be held, or maybe its cuddliness is a threat, a violent trap. The English artist has created a tense world of folkloric psychedelia and pagan aesthetics here. Don’t read any of the bumf on the wall, it’s couched in gentle, therapy-lite language about “radical gestures” and “holding space for queer and working-class stories”. It doesn’t fit the show. Not that this isn’t about queerness and the working class, because it absolutely is. It’s just that this isn’t gentle and soft art, it’s weir
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What happened
According to The Guardian’s linked item, Jonathan Baldock: Held review – lick me, trap me, pull me in, Arnolfini, Bristol The English artist has created a tense world of folkloric psychedelia and pagan aesthetics that is weird, threatening – and utterly compelling Arms are spread, hands are grasping, lips are puckered: everything in Jonathan Baldock’s eerie, uncomfortable, strange exhibition of tapestries and ceramics at Bristol’s Arnolfini is reaching out to you. The whole exhibition is an invitation to be held, or maybe its cuddliness is a threat, a violent trap. The English artist has created a tense world of folkloric psychedelia and pagan aesthetics here. Don’t read any of the bumf on the wall, it’s couched in gentle, therapy-lite language about “radical gestures” and “holding space for queer and working-class stories”. It doesn’t fit the show. Not that this isn’t about queerness and the working class, because it absolutely is. It’s just that this isn’t gentle and soft art, it’s weir
Context
The development sits in VINI’s Culture coverage for readers following arts, entertainment, fashion, film, music, celebrity, and the business of culture. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The linked item is dated 2026-06-26T13:13:43+00:00.
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Source
Primary source: Jonathan Baldock: Held review – lick me, trap me, pull me in via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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Source links
- Jonathan Baldock: Held review – lick me, trap me, pull me inThe Guardian - 2026-06-26T13:13:43+00:00
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