Art Basel Miami Beach

In a new series of paintings, Dalwood looks nearly four decades into the future, to the year 2059. In spite of this nominative forward-looking approach, the artist resumes his longstanding commitment to the construction and interpretation of art history, employing compositional references in 2059 (portal) to both Jean-Siméon Chardin’s The House of Cards and Cezanne’s The Card Players. Appearing throughout the series is a circular motif that indicates the circularity of existence and which materialises here as a classical still life fruit bowl.

In Rachel Howard’s abstract paintings chaos and control work in tandem. With a practice that is fundamentally concerned with the palpable sensation of contradiction, she manipulates the notion of painting – interrogating the medium, encouraging it to behave in unexpected and experimental ways. To create her lined paintings the artist builds up a structure, similar to a grid or a mesh of paint, only to unravel its foundations using varnish and turpentine. Determined by a combination of the weight and viscosity of the paint, the form of the painting relies upon precision and chance, as in Slip Slide Curl Lick where curlicues of pigment evoke a myriad of organic forms.