Following his graduation from art school, Richard Wright produced small intimate angular works, such as Untitled (2002) and No title (2010), painted in gouache in normally ignored parts of the gallery space. However, he soon became internationally known for his innovative interventions into architectural space.When he was nominated for the 2009 Turner Prize, Wright greatly increased his scale in his installation to use a whole wall and fresco patterns featuring the unusual application of gold leaf. He again used Renaissance techniques and scale in a Queens House commission several years later for Royal Museums Greenwich.
Read MoreLater works, like No title (2015) and No title (2014), use coloured glass and lead light within windows and skylights, generating slowly moving patterns of reflected, refracted light and shadows on the walls over the duration of each day, as well as being encountered as optically complex, colourful compositions directly.
Louise Neri has commented on the breadth of Wright's art historical allusions, the many references within his complicated interventions:
'Oscillating between illusion and abstraction, they evince associations with both pure and applied art, as well as subculture: Minimal art, Classical, and Renaissance murals, the Russian avant-garde, De Stijl, Abstract Expressionism, and Op Art; clothing, commercial art, and porcelain; goth and punk. The ciphers that he has developed over time tend to be geometrical (repeated lines or forms), organic (plants), or drawn from popular culture and sometimes a mixture of all three.'