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In the most recent work, the original images and references are gleaned from
various sources such as iconographic, modernist architecture (eg. Mies van der
Rohe’s Barcelona Pavillion & Rem Koolhaas buildings) or high-end fashion, which
represent aspects of culture that are highly designed and endowed with an
extreme visual aesthetic. The work as a whole continues to be generated by my
interest in the relationship between process, illusion, photography and painting.
These elements are brought together to explore the transformative potential of a
process that lies parallel to the dialogue between analogue and digital
reproduction, in order to attempt to image a world between representation and
abstraction. This is born out of a lifelong interest in the illusionistic tropes of the
cinematic and photographic screen, the historical tradition in pictorial painting
especially the baroque, as well as the pictorial devices used in trompe-l’oeil
painting which activates the representational plane as both image and object
“Projected along endless, Klein-bottle-shaped corridors, the eye’s perspective is
canted with the planes that everywhere refuse the vertical, nowhere come to rest
in the horizontal. The body, or rather its introjected projection, is relentlessly
impelled forward at warp speed, as if suspended in the virtual frames of ‘Doom’,
with gravity-bending contortions that seem to defy Nietzsche’s aphoristic
invocation of the end of perspective: ‘we cannot see around our own corner’”.
(from Warped Space, Anthony Vidler, pp204-205)
Represented by: Buchmann Galerie, Berlin www.buchmanngalerie.com
Studied: RCA, London. MA Painting 1993-95 & CSM, London. BA Fine Art/Painting 1990-93
SILENT GLITCH Paintings: Buchmann Galerie, Berlin. Nov 05/Jan 06
Solo show, Buchmann Galerie, Cologne. March/Apr 2005
Selected Group Exhibitions:
Slider, curated by Richard Priestly, Cell Project Space, London. April/May
Group Show, Sammlung Essl Museum, Vienna. Nov 05/Jan 06
Caution: Uneven Surfaces, Temporary Contemporary, London. Dec 04/Jan 05
Kingdom, curated by Patti Ellis, Market Gallery, Glasgow. Nov/Dec
East International 2004, selected by Neo Rauch & Gery Harry Lybke, Norwich. July/Aug
Wheeling: Motorcycles in Art, curated by Marcus Sendlinger, Cell Project Space, London. Dec
Bag Lady, curated by Richard Priestly, Cell Project Space, London. Nov/Dec
John Moores 22, Walker Art Gallery, Liverpool. Sept/Dec
Neverland, curated by Monika Oecshler, Cell Project Space, London. June/July.
The Wreck of Hope, The Nunnery. London March ’00
Close Up On Pattern, Laure Genillard Gallery, London. Oct-Dec 1998
Whitechapel Open, Whitechapel Gallery, London. 1994
Passion for Art, Sammlung Essl Museum, Vienna. 2007
Selected Press & Bibliography:
Silent Glitch at Buchmann Galerie, Jane Neal, p125, Modern Painters. March Issue
Silent Glitch at Buchmann Galerie, Katrin Wittneven, Der Tagesspiegel. 14th January
Sean Dawson: Paintings, Die Kolner Magazine. April Issue
East International, Daniela Johnson, p65, Flash Art. October Issue # 238
East International, George Szirtes, pp118-119, Modern Painters. Autumn
212121Painting, Brian Muller, pp32-41, Contemporary Issue 58. Dec 03/Jan 04.
Sean Dawson, by Richard Dyer, pp46-49, Contemporary Issue 58. Dec 03/Jan 04.
Lost in Liverpool, review of John Moores 22, TheTimes. September 2002
Independent Spirit, review of John Moores 22, AN Magazine. October 2002
Neverland, reviewed by Sarah Kent, p51, Time-Out Magazine. 10-17 July 2002.
The Wreck of Hope, Stuart Croft, p24, AN Magazine. May 2000.
Art Review, Sue Hubbard, Time-Out Magazine, London. May 1998
EAST International 2004, catalogue, July/Aug 2004
The TI Group Art Collection: Painting Graduates of the RCA 1975-2000, TI Group plc
Essl Collection, Vienna, Frankfurt Kunsthalle, Germany, Frederick R Weisman Foundation, Los Angeles & Private Collections – Europe