I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
Simon Lee Gallery is pleased to present an exhibition of new paintings by Dexter Dalwood, his second to be held in the London gallery.
‘In this modern world where everything plays out fast and it plays out in the open at incredible speeds and just when it seems like we are all in on it and interconnected….’
― NBC news anchor intro.
Dalwood’s paintings celebrate and interrogate the history of the medium. They demonstrate an awareness of the continued significance of painting as a means of communicating the ways in which we experience our everyday existence. He crafts narratives of memory that bring together the past, present and future in a single image, forging a bridge between our interpretation of what has already come to pass and that which has yet to happen.
‘Dexter Dalwood’s new paintings depict a potent mix of atmosphere and incident, aloneness and portent. They portray situations as psychological events, describing journeys, transit and locations as though from an existential perspective. Their vision is stark, questioning, detached; their visceral sense of time and place akin to that of the modern traveller, who is at once insulated and stateless, dispassionate yet vulnerable. Randomness and stasis define the mood. Colour, form and composition are tensed, intent, describing the pores of consciousness opened. Poetry and volatility preside; the dimensions of heightened instants are transcribed in the medium of painting’.
― Michael Bracewell, writer, 2018.
To coincide with the exhibition there will be a catalogue designed by Dostoyevsky Wannabe.
About Dexter Dalwood
(b.1960) Dexter lives and works in London, UK. He received his BFA from Central Saint Martins, London and his MFA from the Royal College of Art, London. Recent solo exhibitions include Ein Brief–New Paintings by Dexter Dalwood, Hubert Winter Gallery, Vienna, Austria (2017), Propaganda Painting, Simon Lee Gallery, Hong Kong (2016), London Paintings, Simon Lee Gallery, London, UK (2014), Kunsthaus, Centre PasquArt, Biel, Switzerland (2013); Orientalism, David Risley Gallery, Copenhagen, Denmark (2012); Dichter und Drogen, Nolan Judin, Berlin, Germany (2011) and a major solo exhibition at Tate St Ives, UK (2010), which travelled to FRAC Champagne-Ardenne, Reims, France and CAC, Malaga, Spain. Recent group exhibitions include Hello World. Revisioning a Collection, Hamburger Banhof Museum, Berlin, Germany (2018), Michael Jackson: The Birth of an Icon, Grand Palais, Paris, France (2018), Michael Jackson: On the Wall at the National Portrait Gallery, London, UK (2018), Painters' Painters at Saatchi Gallery, London, UK (2016), Mon art à moi, Centre PasquArt, Biel, Switzerland (2016), The Painting Show, a touring exhibition by The British Council, London, UK which travelled to Limerick City Gallery of Art, Limerick, Ireland (2017) and CAC, Vilnius, Lithuania (2016), Fighting History, Tate Britain, London, UK (2015), The Venice Syndrome–The Grandeur and Fall in the Art of Venice, Gammel Holtegaard, Denmark (2014), Not Being Attentive I Notice Everything: Robert Walser and the Visual Arts, Aargauer Kunsthaus, Aarau, Switzerland (2014), Le Corps de l'Absence, FRAC Champagne Ardennes, Reims, France, Setting the Scene, Tate Modern, London, UK (2012), and Dublin Contemporary, Dublin, Ireland (2011). His work is in major private and public collections including Tate, London, UK, The British Council Collection, London, UK, The Saatchi Gallery, London, UK, FRAC Champagne-Ardennes, Reims, France and Centre PasquArt, Biel, Switzerland.
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