Daniel Crews-Chubb in his studio. Photo: Tim Craig.
British artist Daniel Crews-Chubb’s solo exhibition at Shanghai’s Long Museum carries a title as ambitious as it is reflective: Immortals. The name evokes grandeur and permanence, prompting questions about what it means to create a lasting artistic legacy. For an artist with a career spanning just over a decade, it’s an intriguing and bold choice. Yet, in a world where the art market’s whims can elevate or extinguish careers with startling speed, Crews-Chubb’s measured ascent invites a deeper question: What kind of art can genuinely aspire to immortality?
Daniel Crews-Chubb in his studio. Photo: Tim Craig.
The idea of “immortality” immediately brings to mind Milan Kundera’s literary masterpiece of the same name. In his seminal work, Kundera posits that only two kinds of people achieve immortality – artists and statesmen. Yet he also warns of its futility, writing, “The way you are remembered is never in your control. Death and immortality are inseparable companions; only in death can others begin to shape your legacy.”
Daniel Crews-Chubb in his studio. Photo: Tim Craig.
Kundera’s meditation on legacy finds a vivid illustration in the relationship between German poet Goethe and his lover Bettina, 36 years of his junior. As Goethe aged, he grew increasingly aware of how his carefully curated legacy might be rewritten. When Bettina – now estranged from him – began writing a book about their relationship, Goethe recognised the threat it posed to his own narrative. For artists, this is the bittersweet reality: their creations often outlast their physical selves, entering a realm where their legacy is shaped by others.
In Immortals (2022–2024), Crews-Chubb explores this very idea, examining how art transcends the limitations of the flesh and edges closer to eternity. Through his contemporary lens, he reinterprets iconic historical imagery and narratives, crafting works that reflect on art’s capacity to endure. Yet, as Kundera might remind us, the journey toward immortality is one the artist cannot control. Once the paint has dried, the artwork’s destiny lies in the hands of time, critics, and collectors.
Installation view of “Immortals” at Long Museum (West Bund), Shanghai. Photo: Shaunley. Courtesy of Long Museum.
For many artists, the greatest peril lies in being prematurely celebrated as a “market miracle.” Such acclaim can quickly transform them from rising stars into cautionary tales – victims of the inevitable “market bubble.” Crews-Chubb, however, has so far avoided this fate. His career has been defined by a deliberate pace, allowing his work and vision to mature before achieving widespread recognition. Moreover, he has actively sought opportunities, taking control of his own trajectory rather than leaving it to chance or market forces. This calculated approach has enabled him to build a strong foundation, giving him the space to focus on his craft while charting his own course.
Installation view of “Immortals” at Long Museum (West Bund), Shanghai. Photo: Shaunley. Courtesy of Long Museum.
The series Immortals (2022-2024) serves as an exploration of how art transcends the temporal limitations of the human body. Through a contemporary lens, Crews-Chubb reinterprets historical imagery and narratives, navigating the tension between an artist’s intent and the external forces that shape an artwork’s legacy. This series is Crews-Chubb’s meditation on that paradox: art’s ability to aspire toward eternity, even as its trajectory remains beyond the artist’s control.
Installation view of “Immortals” at Long Museum (West Bund), Shanghai. Photo: Shaunley. Courtesy of Long Museum.
Crews-Chubb’s path to recognition reflects a career built on steady accumulation rather than sudden acclaim. Graduating in the late 2000s, during a period when conceptual and installation art were at the forefront of the British art scene, his work stood apart. As one of his tutors remarked, “Your ideas are strong, but it’s only painting” – a comment that underscored not a limitation, but the singularity of his commitment to painting at a time when it was less in vogue. His early exhibitions at Vigo Gallery in London’s Mayfair yielded mixed commercial success but introduced him to key figures in the Mayfair art scene. A pivotal moment came when a gallery owner – initially interested in purchasing his work – agreed to host an exhibition of his work. This led to his inclusion in Art Basel Miami Beach, a significant turning point that propelled his career to the next level.
Installation view of “Immortals” at Long Museum (West Bund), Shanghai. Photo: Shaunley. Courtesy of Long Museum.
The measured nature of Crews-Chubb’s rise contrasts sharply with the rapid, often volatile success stories that define much of today’s art market. Many artists catapult to fame early, only to struggle with the pressures of sustaining their market value and relevance. Crews-Chubb’s approach demonstrates the benefits of allowing time for artistic growth and self-discovery before stepping into the global spotlight.
Installation view of “Immortals” at Long Museum (West Bund), Shanghai. Photo: Shaunley. Courtesy of Long Museum.
If an artist manages to ride the wave of “good fortune,” it might be because their innate marketing savvy matches their artistic talent—a rare ability to create works that align perfectly with the tastes of the moment and cater to the zeitgeist when necessary. Alternatively, they may have simply seized the right opportunity at the right time, allowing the tides of circumstance to carry them forward. Then again, it could be that, beyond sheer serendipity, they have discovered a truly unique essence—something that sets their work apart in a world that constantly craves originality.
Daniel Crews-Chubb in his studio. Photo: Tim Craig.
Crews-Chubb’s work draws on an array of historical and cultural references, yet it is firmly situated within the present. His canvases incorporate vibrant colors and layered textures, achieved through an experimental process that blends traditional techniques with contemporary materials. Eschewing brushes, Crews-Chubb applies paint with his hands, creating tactile surfaces that evoke the patina of ancient relics. His compositions are imbued with influences ranging from temple sculptures and frescoes to the gestural abstraction of Willem de Kooning and the raw immediacy of Art Brut.
Travel has been a formative influence in his practice. Early in his career, Crews-Chubb and his wife embarked on journeys to significant cultural and historical sites, including pyramids, temples, and museums. These experiences enriched his understanding of ancient civilizations such as the Aztecs, Mayans, and Toltecs, providing a reservoir of imagery and symbolism that informs his work. This fusion of historical inspiration with a contemporary sensibility positions his art within a broader discourse on time, memory, and cultural continuity.
Daniel Crews-Chubb in his studio. Photo: Tim Craig.
The art market’s renewed fascination with classical and ancient themes provides fertile ground for Crews-Chubb’s exploration of the eternal. However, his work stands apart in its commitment to experimentation. His process often involves layering charcoal, tea-stained pigments, and acrylics to create multidimensional compositions. This hands-on approach transforms his canvases into dynamic spaces where figuration and abstraction collide, offering viewers an experience that is both visceral and cerebral.
Crews-Chubb describes himself as a painter with the instincts of a sculptor. While sculpture demands meticulous planning, he views painting as a medium that allows for serendipity and spontaneity. This sensibility extends to his use of collage, which he considers an essential tool for real-time editing and reconfiguration. The resulting works embody a tension between opposites: beauty and grotesqueness, tradition and innovation, chaos and order.
Daniel Crews-Chubb’s studio. Photo: Tim Craig.
For Crews-Chubb, immortality is less an endpoint and more a guiding principle. In his view, only works that endure beyond their creator’s lifetime can claim the mantle of the eternal. However, as Kundera reminds us, the path to immortality is fraught with uncertainty. An artist’s legacy is as much shaped by collectors, critics, and market dynamics as it is by their own vision. Those who chase trends without a deeper conviction may lack the boldness required to elevate their collections into realms of lasting significance, while those who merely follow auction trends may lack the vision, daring, and destiny to waltz with immortality. At this stage of his career, Crews-Chubb is carefully constructing a foundation for his own potential immortality. His work invites audiences to contemplate the interplay between the past and present, the transient and the eternal.
Daniel Crews-Chubb in his studio. Photo: Tim Craig.
In Milan Kundera’s Immortality, as Goethe nears the end of his life, the Weimar City Hall resolves to commemorate him with a statue. Years later, Bettina, his former lover, visits Goethe and shares a draft of a memorial sculpture she has designed, featuring a flame atop his head. Goethe gazes at the flame, and tears silently roll down his face.
Daniel Crews-Chubb in his studio. Photo: Tim Craig.
I didn’t ask Daniel Crews-Chubb – a painter who believes art is a torch passed from one generation to the next, its light carried forward by each successor – what he imagines as the flame atop his own head in the decades that will shape his legacy. Perhaps it’s an answer even he doesn’t yet know.
For me, that flame serves as a beacon, a symbol of resilience for artists who have weathered life’s challenges and pushed their craft to new heights. For others, it illuminates a path toward understanding, offering direction in the search for meaning within art’s enduring journey.
-the end-
Text: Luning
Copyediting: Rosie