All photos this page courtesy Hales Gallery. This installation running length 42m, height 3.9m

"You walk through a series of arches, so to speak, and then presently, at the end of a corridor, a door opens and you see backward through time, and you feel the flow of time, and realise you are only a part of a great nameless procession"  - John Huston

"Referencing frescos of the Last Judgement and other battles, Rennaissance tapestries and Egyptian or Mayan tomb paintings, Locke revels in the narrative arts of the past.  However, The Nameless does not offer up clarity in it's sequence of events.  Instead the work provides a false sense of didactic discussion where the pastiche of information presents no direct narrative, description or distinct purpose.  Here the work becomes an un-explained display of perpetual marching to no specific grind, a contemporary exhibit of The Flying Dutchman through artistic gesture." - extract Hales Gallery press release

"This piece may contain rambling narratives – as in the Arabian Nights where one story merges with or is contained within another and then yet another larger story. The marchers are freewheeling improvisations drawing on a personal archive of imagery and symbols that has built-up over the decades. I play with stereotypes and tired, lazy clichés. I have seen many woodcuts of The Dance of Death, and the Momento Mori skulls and skeletons common in tombs and churches across Europe. A photo of a Kalashnikov is shorthand for small and large conflicts all over the world. The gun can symbolise both danger and excitement – both dying and living. The procession is not just a Triumph, nor just the funeral procession of a great general, but also the recruiting sergeant coming to town."  - Hew Locke

Click here to see Locke talk about The Nameless in New Orleans 2014