The show recognises the potential for painting to romanticise protest and criticism and maintains an interest in painting’s ability to transfer this apparent legitimacy from artist to institution or collector.
This is a silent story of place, movement and deprivation presented in a medium with a history of romantic representation also meant for the most stable of environments. These are likewise paintings about painting and the effect it has of altering the conditions of domestic spaces. The works straddle a line between a moveable, storable object and something all encompassing, dominating its situation.
While drawn in part from elements of his own story, the images touch on displacement as one of the players in neo-cultural dynamics. There is celebration in the perverse romanticism of the nomad, vagabond, migrant or pilgrim sleeping rough, squatting or seeking out unconventional accommodation and the duality of this as both free and disenfranchising.
Much of what is considered noble or acceptable has more of a base in fashion than objectivity when art, architecture and ideology are responses to (and as such entrenched in) the contemporaneous. We are here confronted with painter as iconoclast, images that are as much representational as they are obfuscated but crucially present current narratives in which one can perceive a past as comfortably as one can see a future.