Dexter Dalwood (b. 1960, Bristol, UK) is a rare instance of an artist equipped to examine how history is constructed and interpreted through the making of paintings which are both intellectually challenging and visually seductive. The artist’s juxtaposition of quotations and references from a broad and eclectic range of subjects is reflected in his transposition of the cut-and-paste of the collage technique to canvas. Not only does Dalwood possess a profound cultural and historical knowledge, he also perceives the connections between art history, politics, music, literature and personal experience, which he intimates with a remarkable lightness of touch. His paintings reward close observation, for the event or situation depicted is always reflected in the styles of painting that were developed during the periods referred to in the work.
In Dalwood’s practice the medium of painting is not only examined and celebrated in terms of its history and legacy; Dalwood also demonstrates the enduring contemporary relevance of painting as a way of communicating how we experience the world in which we live. On the flat, painted surface Dalwood creates a breathtaking pluralism that refracts and collides the memory of the past with future recollections of the present. It is no coincidence that the subjects of his paintings are always physically absent, portrayed through depictions of the environments that they might have occupied. Their invisibility heightens the mystery and artifice of the scene but also removes the most recognisable aspect of figuration from works that ultimately communicate something that goes beyond depiction or language. Much more than the sum of their very disparate parts, Dalwood’s paintings make an uncompromising claim for the continuing tradition of the medium.
Dexter Dalwood: 2059
Simon Lee Gallery presents a series of new paintings by British artist Dexter Dalwood on the occasion of his second exhibition at the Hong Kong space. In these recent works, Dalwood looks nearly four decades into the future, to the year 2059; something that the title of each painting in the exhibition makes reference to.
Dexter Dalwood: Collages 1999 – 2011
Simon Lee Gallery is proud to present an exhibition of Dexter Dalwood’s collage studies. These works have only been shown once previously in the UK as part of Dalwood’s 2010 exhibition at Tate St. Ives, which later travelled to FRAC Champagne – Ardenne and CAC Malaga.
Simon Lee Gallery is pleased to present WORDS, a group exhibition that explores the function of language and the role of text in art making. Whether dealing in political statements, ribald asides, poetry and literature or illegible scrawls and scribbles, the works in this exhibition comment on the ways in which ideas are exchanged and communication effected.
En Plein Air
Simon Lee Gallery, London, is pleased to present En Plein Air, bringing together works by artists who seek to reinterpret the artistic tradition of painting outdoors for a contemporary audience. The plein air approach has been prevalent since the mid-19th century, although it gained traction in the 1860s as a practice essential to the development of the Impressionist movement. While artists had long painted from observation to create preparatory sketches or studies, during this period the plein air method led to a naturalistic style that threw out the academic rulebook in the pursuit of formal and compositional spontaneity. The artists included in En Plein Air are united by a desire to refresh the audience’s interpretation of outdoor painting, whether via landscapes or portraits, photography or painting, figuration or abstraction, and in this way, the exhibition explores scenes of the outdoors in relation to contemporary studio practice.
Dexter Dalwood: What is Really Happening
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.
The advent of the home studio in the 1970’s democratized both music and art, with cities like New York becoming significant platforms for the convergence of both practices. Partially due to financial instability brought on by urban decay and political neglect, artists embraced a do-it-yourself mentality which inevitably led to interdisciplinary experimentation. Although this time period was marked by metropolitan downturn, the phenomenal successes of these new wave forms of art making led to their ironic commercialization. Through a diverse group of artists and media, New Pleasure showcases the intersection of music and art after punk rock and investigates how artists have taken direct influence from musicians, have participated within either genre, or have performed as musicians themselves.
Dexter Dalwood: Propaganda Painting
Simon Lee Gallery is proud to present an exhibition of new paintings by London-based artist Dexter Dalwood, his second exhibition with the gallery and first solo exhibition in Hong Kong.
This new series further develops Dalwood’s ongoing investigation into the role of images and painting in the construction of history. The context of China has provided him with a rich history to draw upon in order to make wider cultural, economic and political associations and provocations in this new body of paintings.
Simon Lee Gallery is proud to present ‘Faux Amis’, a group exhibition that centres on the dialogue between the work of gallery artists and their chosen ‘false friend’.
For this, the first exhibition to cover both the ground and the new first floor spaces of the London gallery, Simon Lee Gallery artists are invited to exhibit alongside, and in dialogue with, the work of an artist of their choice which they find forges a relevant, interesting, distracting, misleading, or stimulating relationship with their own practice. The resultant selection of works not only highlights the interesting discourses that can exist between artists of divergent practices and generations, but also suggests new readings of the individual works on display.