Hive is pleased to announce the upcoming exhibition by Richard Dyer - ' Easy Veronese, Easy! ' opening this coming Wednesday, 27 October, 7 - 10 pm at our space in Whitechapel .
Richard Dyer’s main practice shifted from painting to critical and theoretical writing about the visual arts in the late 1980s. Although he has occasionally contributed to group exhibitions he is now mainly known as a widely published art critic.
This exhibition marks his return to studio practice and initiates a dialogue between the last ‘official’ work from his studio, a suite of five monoprints from 1987, and his most recent series of intimately-scaled watercolours.
The recent work operates in a realm between the figurative and the abstract, exploring a territory first excavated by Surrealist artists such as Yves Tanguy, Joan Miró, Roberto Matta, Jean Arp and Edward Wadsworth. Unlike realism, with its reliance on external visual reality, or abstraction with its inherent dictates of either formalism or ‘expressionism’, this third territory gives the artist the freedom to create complex ‘painterly entities’, halfway between anti-gravitational still-lifes and genetically engineered ‘living sculpture’. The structures are often ‘wrapped up’ in coloured ribbons, as if some bizarre gift were being presented to the viewer; or infiltrated by stray fragments of coded text from Braille, unreadable by both the sighted and the blind, as the three- dimensionality of the code is purely illusory, thus paradoxically presenting and concealing a latent textual layer of the work.
This new work also points to an older tradition of painting from the Baroque to the Renaissance, but here it is as if we are observing a surgical transverse cross-section of a Tintoretto, Veronese in a state of cellular meltdown, the three-dimensional portrayal of a Mandelbrot set fused with fragments of polychrome biomorphic architectures, the buckled remnants of a post- mortem Tiepolo.
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Supported by The East India Company