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The 'Black' series of oil paintings are a
visual paradox. Though black, these paintings
shimmer with refracted light in order to
create their 'colour'. In a wholly perverse
manner they insist on the presence of light
in order to be read.
Visit 'Black' series page |
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The Icelandic landscape reveals many paradoxes
- at once harsh and unforgiving, at other
times soft and very beautiful. Stark colour
contrasts abound - most particularly between
the black lava soil and white snow. This
phenomenon is a graphic extreme and can,
at times, distort depth of vision and confuse
evaluation of the true scale of the landscape.
Visit 'Iceland' series page
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Propaganda is a received perspective and
in these paintings I was influenced by such
commentators as Noam Chomsky, Edward Said
and the novels of Albert Camus, in particular
his novel La Peste (The Plague) in which a community is cut
off from the rest of the world due to quarantine.
Thus perspectives between the outer and inner
communities becomes separated - alienated.
Visit 'Propaganda' series page |
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These paintings were the result of experimentation
with transparent mediums. The
idea of transparency
within a painting allows the
viewer to see
the complete history of the work,
right back
to the fabric of the canvas.
Transparency
also alludes to the 'political'.
These paintings
were made between 1998 to 2000
when the word
'transparency' had become a popular
political
buzzword in the UK.
Visit 'Multilateral' series page
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The series of ‘Oriental’ paintings are partly
influenced by motifs, shapes and forms from
Chinese and Japanese culture.
Visit 'Oriental' series page
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Formal aspects of Op Art - colour and movement
- are given an uncomfortable 'nudge' in order
to produce paintings that are not quite the
perfect geometrical constructs demanded of
the genre. These constructs are in the process
of shifting, or re-arranging themselves.
They teeter on the verge of a satisfactory
final visual 'conclusion' or appear interrupted
- frozen in motion - not quite at their optimum
position.
Visit 'Moire' series page |
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Phenomena series - essentially 'Black' paintings
Part II drawing upon phenomena
in Nature.
The black series of paintings are a visual
paradox. Though black, these paintings shimmer
with refracted light in order to create their
'colour'. In a wholly perverse manner they
insist on the presence of light in order
to be read. Natural forms: black pelts of
animals, water and whirlpools are influences.
For example, the painting, 'In Peril' is
influenced by the hymn Eternal Father, Strong to Save'.
Visit 'Phenomena' series page
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This series of paintings and drawings initially
developed from a response to books and films
that utilise fabric, or apparel, as a key
motif within the storyline. Apparel has been
a device in folk tales and fiction down the
centuries - characters use clothes to conceal,
or create, alternative identities. This theme
expanded into the dark realm of Film Noir
and the dramatic Technicolor technology surrounding
epic widescreen vistas - techniques that
heighten drama and atmosphere.
Visit 'Fabrications' series page
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Combining the cinematic 'letterbox' format
with views into atmospheric worlds populated
by dust and detritus, light and darkness.
These works draw upon a number of writers
works, namely: Marina Warner’s book ‘Phantasmagoria’, the matter of 'dust' in Philip Pullman’s
‘His Dark Materials’ trilogy and the eloquent observations of
Junichiro Tanizaki in 'In Praise of Shadows'.
Visit 'Film Forensic' series page
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chandeliers depicted as ‘ships’ listing on
dark oceans – suggestive of outmoded orders/empires.
Some are depicted as if upturned atom bomb
shapes, as jelly fish...others allude to
Englightenment/Science and Science Fiction
Visit 'Chandeliers' series page |
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New work influenced by a broad range of elements
from Japanese craft such as Kimonos and the
production of opulent textiles including
katagami stencils, auspicious motifs, ribbons
and stripes. Further research is in progress
with the recent award of The Leverhulme Trust Award Artist in Residence at the University of Huddersfield and also
in Kyoto, Japan 2010-2011.
Visit 'SHIBUSA-Extracting Beauty'' series page |
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PIP DICKENS - NEW WORKS
17 January - 14 April 2012
Stanley & Audrey Burton Gallery
University of Leeds
artist-in-residence at Stanley & Audrey
Burto Gallery - new work influenced by
Michael Sadler's gifts of Kashmiri shawls
to the University, now held at ULITA.
Visit 'New Works' page
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drawings |
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The 'Elephant Man/Cloud' charcoal drawings
acknowledge transformations taking place
in the world of photography and medical science
during Joseph Merrick’s lifetime. An example
would be the groundbreaking examination of
a horse running - sequential photography
by Edweard Muybridge.
Visit 'Elephant Man/Cloud Drawings' series page |
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Black netting and lace exposes flesh whilst
also presenting a decorative yet impenetrable
barrier. This type of fabric is sheer and
fine and like a spider's web belies its structure
and strength. The fabric utilises flamboyant
decorous forms that mimic nature - artificial
devices to visually seduce and attract the
'prey'.
Visit 'Femme Fatale' series page
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To commemorate the 40th Anniversary of the
Lunar Landing - trees morph into rockets
aiming for the moom. Some trees crash and
burn back to earth, failing to launch...
Visit 'Space Race' series page |
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Drawings based on Boris Pasternak's novel,
'Dr Zhivago'
Visit 'Dr Zhivago Drawings' series page |
