Altered Spaces

Dexter Dalwood

 Dexter Dalwood 

Born in Bristol, England in 1960. He studied at Central St Martins, London (1981-85) and at the Royal College of Art, London (1988-90). He lives and works in London.

http://www.saatchigallery.com/artists/dexter_dalwood.htm

 

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Room 100, Chelsea Hotel, 1999

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Gorbachev's Winter Retreat

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Gorbachev's Winter Retreat
2000
Oil on Canvas
198 x 236cm

Gorbachev’s Winter Retreat is a modest structure, straddled between the split landscape of old and new Russia. Quoting Edvard Munch (for that Eastern European feel), Dexter Dalwood offers the ousted premier a grim prospect of a lonely, uneventful future as just another forgotten historical figure with nothing but memories, banished to a life of rural idyll and inconsequence.

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A View From a Window, 2006

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Matthias Weischer

 MATTHIAS WEISCHER 

Born in 1973, Elte, Germany 

Lives and works in Leipzig, Germany 

http://www.saatchigallery.com/artists/matthias_weischer.htm

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The Moon: Considered as a Planet, a World, and a Satellite 1874

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Mark Bradford

 Mark Bradford 

Born and works USA

 

Wikipedia https://en.wikipedia.org/wiki/Mark_Bradford

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''Los Moscos'',2004

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“Scorched Earth”, 2006

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''Kryptonite'', 2006

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Disappear like a Dope Fiend

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''White Cube'',2009

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''Amendment'',2014

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''Lights and Tunnels'' 2015

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Kurt Cobain's Greenhouse

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Room 100, Chelsea Hotel
1999
Oil on Canvas
183 x 213 cm

Room 100 at New York’s Chelsea Hotel is the infamous site of the violent death of Nancy Spungen, allegedly at the hands of her boyfriend Sid Vicious. Dexter Dalwood paints this scene with clinical detachment: the chaotic room is devoid of salacious detail, dehumanised in its simplicity. Dexter Dalwood portrays an unglamorous fantasy of seedy realism as sanitised through media. The composition is riddled with pairs: lamps, cupboard doors and bed frames act as coupled shapes, insinuating an eternal togetherness. The broken bed is symbolic of tragic breakdown. At the foot of the bed is an upturned TV, its image frozen on two black-clad figures: one large and one small, reflective of fragility and ego. On the floor, Dexter Dalwood paints a pool of melting candles, suggestive of drug culture but also the adage that those who shine brightest burn quickest.

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'The Brighton Bomb', 2006

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Interior

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Interior
2003
Oil on Canvas
75 x 96cm

Matthias Weischer’s Interior sets up an ambience of corroded decadence. Here Weischer’s formalist interests are presented with more naturalistic qualities. Exploiting his media to its full potential, Weischer creates spatial illusion through his application as well as composition: the heavy folds of the curtain are painted with concrete ballast, while the ceiling writhes with liquid fragility. Weischer renders the receding wall with battered texture, the illusion of movement gives way to a fanciful mural; a portal to a mystical landscape, incongruous with this dilapidated setting

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Tears of A Tree, 2014

When I saw 'Riding the cut vein 2013' by Mark Bradford in Tate Modern and reminded me of my once visit to an exhibition at Rockbund Art museum,Shanghai. As expected, all of these large-scale collage painting comes from the same artist. 

The artist has created three large-scale collage paintings specifically for the exhibition. Measuring 12 metres each in length, and consisting of four panels, The Tears of a Tree (2014), Falling Horses (2014) and Lazy Mountain (2014) were all inspired by the time the artist spent in Shanghai.

Coming across old colonial maps of Shanghai at a local market, Bradford became interested in the partitioning of the city during the international zone period, the changes to the Chinese address system under the imposed Japanese system, as well as the pre-industrialisation landscape of the city—in other words, the mapping and remapping of the city, and the molding and remolding of the physical landscape over many decades. The paintings are informed by this context, and the massive change in the urban landscape that the artist witnessed during his visits.

The exhibition will also include a group of new sculptures titled ‘The Loop of Deep Waters’. Suspended on the fifth-floor gallery, the buoy-shaped forms are made up of Bradford’s signature materials—paper, caulking agents and cords.

Fromhttp://whitecube.com/news/mark_bradford_at_rockbund_art_museum_shanghai/中文http://www.rockbundartmuseum.org/cn/exhibition/overview/c8biwv

Morehttp://www.thatsmags.com/shanghai/post/8887/mark-bradford

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'Tears of a Tree'

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'Falling Horse'

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'Lazy Mountain'

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Map,Football,Hairdressing

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''The Devil is Beating his Wife'',2003

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Burroughs In Tangiers, 2005

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Situationist Apartment May ‘68

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Egyptian Room

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Egyptian Room
2001
Oil on Canvas
220 x 220cm

Matthias Weischer’s dream houses defy all spatial logic; he makes architectural installations that can only exist in two dimensions. Depicting a ceiling-less apartment, Egyptian Room removes the ambit between internal and external space. Instead, each element imposes its own sense of order on each other: outside, palm trees and sand dunes tower in geometric precision, while inside Matthias Weischer’s meticulous grid gives way to its own organic confusion. The floor melds inconspicuously with the counter, shelves and table tops tilt to high-seas angles, and objects such as the basket sink below their supporting surfaces. Banality is ruminated as a perpetual labyrinth where obsession and madness become the pursuit of wonder and delight.

 

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'The Loop of Deep Waters'

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