An avowed master of contemporary history painting for over three decades, Dexter Dalwood translates real-world events into imagined and composite landscapes, furthering the language and narratives of his chosen medium, while acknowledging the weight of all that has come before. An acute understanding and referencing of past artistic genres has recently given way to a style all his own: one that evades figurative tropes, in favour of uninhabited and uncertain spatial concerns, shifting scales and compressed picture planes. The artist’s famed, fictional interiors of Kurt Cobain’s Greenhouse (2000) or Wittgenstein’s Bathroom (2001), executed with knowing painterly flourishes and references – ranging from Willem de Kooning and Clyfford Still to Manet, Munch and Bellini – have since been concentrated down into constricted views from inside an airplane or else expanded through windows into Dalwoodesque spaces that are at one further remove from any original source material. The increasing presence of textual or numerical impositions on the canvases, in addition to abstract passages of gestural and frontal mark making, likewise signifies a distillation and honing of this practice.

An avowed master of contemporary history painting for over three decades, Dexter Dalwood translates real-world events into imagined and composite landscapes, furthering the language and narratives of his chosen medium, while acknowledging the weight of all that has come before. An acute understanding and referencing of past artistic genres has recently given way to a style all his own: one that evades figurative tropes, in favour of uninhabited and uncertain spatial concerns, shifting scales and compressed picture planes. The artist’s famed, fictional interiors of Kurt Cobain’s Greenhouse (2000) or Wittgenstein’s Bathroom (2001), executed with knowing painterly flourishes and references – ranging from Willem de Kooning and Clyfford Still to Manet, Munch and Bellini – have since been concentrated down into constricted views from inside an airplane or else expanded through windows into Dalwoodesque spaces that are at one further remove from any original source material. The increasing presence of textual or numerical impositions on the canvases, in addition to abstract passages of gestural and frontal mark making, likewise signifies a distillation and honing of this practice.

An avowed master of contemporary history painting for over three decades, Dexter Dalwood translates real-world events into imagined and composite landscapes, furthering the language and narratives of his chosen medium, while acknowledging the weight of all that has come before. An acute understanding and referencing of past artistic genres has recently given way to a style all his own: one that evades figurative tropes, in favour of uninhabited and uncertain spatial concerns, shifting scales and compressed picture planes. The artist’s famed, fictional interiors of Kurt Cobain’s Greenhouse (2000) or Wittgenstein’s Bathroom (2001), executed with knowing painterly flourishes and references – ranging from Willem de Kooning and Clyfford Still to Manet, Munch and Bellini – have since been concentrated down into constricted views from inside an airplane or else expanded through windows into Dalwoodesque spaces that are at one further remove from any original source material. The increasing presence of textual or numerical impositions on the canvases, in addition to abstract passages of gestural and frontal mark making, likewise signifies a distillation and honing of this practice.