Location: London and Dorset
Website: www.darcy-arts.com

My paintings, sculptural works, and installations draw viewers into pleasurable, contemplative
expanses. They are intense abstractions of humanity marked by a balance of movement within
the frame or installation space. They encase equal parts sensation and inquiry.
When creating watercolour style paintings, I have adopted a signature process including
Japanese Sumi inks. These are applied in much the same manner as watercolours, thought
they inherently less yielding. That restriction allows for new approaches and methods. The
results include brilliant, durable pigments rooted in mid­motion gestures. The palette and forms
shift according to content and mood, but the inherent tenacity of effort remains consistent within
this body of work.
While giving credit to the advancements of the Abstract Expressionists, I take a decidedly
contemporary approach. I use the movement of form and line to express desire and vitality.
These methods extend the French Tachisme approach into this postmodern era. Key influences
include Anselm Kiefer, Gerhard Richter, Frank Auerbach, and Norman Bluhm. Kiefer’s
watercolours, and especially Essence/Ex­sistence, provide a favorable visual and philosophical
point of departure. Richter’s adoption of chance operations and other experimentations support
endless lines of inquiry. Auerbach’s approach to the paint medium emboldens my
non­traditional methods and I affirm Bluhm’s commitment to pleasure.
My latest collection includes a series of metaphysical nudes based on simple drawings. These
push the idea of a simplified line representing a dynamic subject and sensations. The works
share those concepts with the Blue Nudes of Henri Matisse. Both provide the sensation of
sculptural objects, even within the flat images.
Examples of installation work include the project titled Where Are You, proposed for the frieze
art fair in London. It includes twelve life­size plaster figures situated throughout the space, with
each including a prominent cellular phone. The sculptural gaze is locked on the phone, even as
a smaller plaster figure sits lower in space, crying. This work responds to global cultural issues
arising from the increase in technological advances and the decrease in person to person
interaction. It is also a personal response to my seeing a three year old child abandoned in a
supermarket, with bystanders steadily streaming past.