Using low-resolution images gleaned from the Internet, Dan Hays constructs paintings that question the screen interface.
Increasingly high definition and contrast ratio configures an ever more passive observer, enthralled by illusions of optical
verisimilitude. With touches and daubs of paint, touchscreen technology is offered a flawed gestural counterattack.  
Connections to the history of painting, between the classical and the sublime, or Impressionism and Symbolism, are not
explicit, but are shown to be a latent quality of any fugitive frame of a YouTube video or landscape webcam. Tending
towards abstraction through disintegration, a broader sense of longing for something lost is suggested. The digital screen’s
icy crystalline matrix, seamless deliverer of watery flows of information, is rendered by pigmented oily mud on a weave of
fabric – a paradoxical visual realm where illuminated pixel and physical brushstroke coalesce.

Dan Hays lives and works in London.

BA Fine Art, Goldsmiths College, 1987-1990.
PhD in Fine Art, Kingston University, 2008-2012.

Recent solo exhibitions:
Screen as Landscape, Stanley Picker Gallery, Kingston University, 2012
Failing Light, Zürcher Studio, New York, 2009

Recent group shows:
Super Natural, Charlie Dutton Gallery, London, 2010
A Bright and Guilty Place, Payne Shurvell Gallery, London, 2010
Parallel Lines, Galerie Tom Christoffersen, Copenhagen, 2009
Compendium, Temple Bar Gallery, Dublin, 2009

Works in the exhibition:

2011, oil on canvas, 137 x 183 cm

The Face of God
2011, oil on canvas, 137 x 183 cm

Colorado Impression 17
2010, oil on canvas, 56 x 75cm
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