Nick Doyle’s exhibition provocatively explores the intersection of kink and corporate culture, challenging societal norms and sparking dialogue about sexuality, power, and the human experience.
“Some people like to get hit in the face,” says artist Nick Doyle while highlighting the diverse spectrum of human sexual desire. Doyle has whipped the artworld into a frenzy with his provocative exploration of kink and corporate culture. His latest exhibition, “BUSINESS, PLEASURE, PRESSURE, RELEASE” at Perrotin gallery in Paris, is a playful yet subversive take on the power dynamics, control mechanisms, and hidden desires that lurk beneath the polished surface of the workplace.
A trip to Tokyo ignited his journey into the world of alternative sexual expression, drawing him to the city’s renowned kink clubs. He was captivated by the unique compartmentalization of its culture, with designated spaces for specific activities, a concept that extended into the realm of sexual subcultures. “It was less of a ‘no you can’t do this’ and more of a ‘you can do this, but just not in this space,’” Doyle explains, finding this approach surprisingly liberating rather than restrictive. This sense of designated freedom was mirrored in these communities, where a full embrace of difference created an atmosphere of exhilarating acceptance. Doyle recounts a particularly vivid memory: “There was this couple… She was in full latex head to toe, hog tied in a shibari fashion, laying belly down on the floor, offering herself to be whipped by anyone who wanted to. Her partner was there, both as an encouraging force, but also as her safety net. The trust between them was palpable.” This scene stuck with him and contrasted sharply with the restrictive religious ideology he was raised with.
“Exploring these subcultures helped me confront my own shame around sexuality,” Doyle explains. “It brought up questions about my upbringing and the cultural pressures that silence these conversations.” This personal journey fueled his desire to create art that challenges societal norms and sparks open dialogue about often-stigmatized subjects. “There are misconceptions,” he says, “people often associate kink with sadism or masochism, but it’s much more thoughtful and intentional, and it’s about celebrating, it’s about joy.” Doyle also suggests that within a consensual and trusting environment, individuals can explore “abuse play” – a carefully negotiated and controlled form of “abuse” that allows them to safely experience and process their trauma. This approach aims to reclaim control and find a safe space to explore those darker aspects of ourselves.
The artist and activist Pippa Garner, with her fearless exploration of sexuality and gender, often infused with humor and playful subversion, has been a key influence on Doyle’s approach. Garner, who famously modified appliances and cars before transforming her own body through surgery and hormones, made a memorable appearance on The Tonight Show in 1982 wearing her iconic “Half-Suit”. He not only pays homage to Garner in this exhibition by reimagining his own version of the “Half-Suit,” which he wore at the exhibition opening, but also shares her mechanical approach to creation. From the “Human Resources” installation to the meticulously handcrafted “Executive Toys” sculptures, Doyle’s DIY ethos mirrors Garner’s. Both artists bring awareness to subjects like toxic masculinity and power dynamics through a lens of humor and absurdity.
In David Cronenberg’s 1996 film “Crash,” the character Vaughan declares, “A redesigned car is an erotic turn-on.” The film explores sexual practices outside of mainstream societal norms, a theme Doyle echoes in his “Human Resources” installation. This interactive kink bar, complete with cubicle walls and water fountains, offers visitors a hint of these subcultures within a seemingly corporate workplace. Furthering this exploration, the installation features a prize wheel that assigns guests paraphilia folders – paraphilia refers to unusual sexual urges, often involving intense or unconventional activities – encouraging self-reflection on both known and unknown desires and prompting the audience to question their own definitions of “normal”. Guests can even get handcuffed and order a drink from a selection of cocktails named Blood, Tears, or Sweat, pushing the audience to question the true intentions of corporations.
Doyle is fascinated by the corporate world because he sees a disturbing parallel in the increasing corporatization of the art world itself, where art is commodified and dehumanized. Just as corporations meticulously craft their brand image, artists, too, can become commodities, risking the loss of their artistic spirit in the pursuit of market value. He likens the corporate ecosystem to a playground, albeit one with strict rules and high stakes, where individuals are pressured to conform and perform. He exposes the irony of the human resources department, which often prioritizes corporate interests over employee well-being. “It’s like a factory designed to churn out good workers,” he quips, “where even the concept of a ‘life hack’ is about maximizing output.”
His experience with kink has been one of warmth, acceptance, and a celebration of the human experience. By juxtaposing this often sterile and dehumanizing environment with the art, he creates a dialogue between two spaces that rarely intersect. A fun fact, Doyle incorporates in its bar a Louboutin high heel shoe, which guests might find themselves sipping a cocktail from and reveals that “It actually belongs to my gallery director and liaison, Ariel Kliegerman” playfully blurring the lines between his professional and personal life.
Ultimately, Doyle’s exhibition serves as a catalyst for dialogue, a playful yet provocative call to disrupt the status quo. “We need to fuck things up a little bit,” he urges on the Perrotin podcast. “Everything needs to be a bit crazier.” He challenges us to confront our own biases and engage in open conversations about sexuality, power, and the human experience, encouraging a playful disruption of norms and a celebration of the unconventional.
Written by Lisa Boudet
Nick Doyle ‘Business, Pleasure, Pressure, Release’ is on view at PERROTIN in Paris until March 8, 2025.
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