In Untitled (2022), through layering and superimposition, Graham achieves the painterly equivalent of an all-over Cubism, with the introduction of quasi-recognisable objects or symbols, simultaneously flattening and adding realistic depth to the compositions.

His technique of re-incorporating or stitching together motifs from previous bodies of painting perhaps adds to the familiarity of form, through which Graham finds his own harmonic, graphic outcome.

Although best known for his conceptual practice as a photographer and installation artist, Graham, has often turned to painting, in the first instance for his 2007 exhibition, 'Wet on Wet: My Late Early Styles'. Then generated from examples of abstract artists including Francis Picabia or Jean Arp, he moved on to Morris Louis-style drip painting, then shaped canvases and multipartite painting, before embarking on impastoed, midcentury modernist works in the manner of Lucio Fontana.

More recent works started with an example of Alexander Rodchenko, which was endlessly cut-and-pasted, rotated and transformed in Photoshop before becoming unrecognisable as source material. This body of works owe as much to Matisse as they do to Picasso, with windows, openings and shapes all coalescing into view. While his 'late early styles' could have been considered ironic experimentation with a post-medium condition, Graham has now developed his own 'mature' expression as a painter from a position of experience and prolonged studio practice.

In Untitled (2022), through layering and superimposition, Graham achieves the painterly equivalent of an all-over Cubism, with the introduction of quasi-recognisable objects or symbols, simultaneously flattening and adding realistic depth to the compositions.

His technique of re-incorporating or stitching together motifs from previous bodies of painting perhaps adds to the familiarity of form, through which Graham finds his own harmonic, graphic outcome.

Although best known for his conceptual practice as a photographer and installation artist, Graham, has often turned to painting, in the first instance for his 2007 exhibition, 'Wet on Wet: My Late Early Styles'. Then generated from examples of abstract artists including Francis Picabia or Jean Arp, he moved on to Morris Louis-style drip painting, then shaped canvases and multipartite painting, before embarking on impastoed, midcentury modernist works in the manner of Lucio Fontana.

More recent works started with an example of Alexander Rodchenko, which was endlessly cut-and-pasted, rotated and transformed in Photoshop before becoming unrecognisable as source material. This body of works owe as much to Matisse as they do to Picasso, with windows, openings and shapes all coalescing into view. While his 'late early styles' could have been considered ironic experimentation with a post-medium condition, Graham has now developed his own 'mature' expression as a painter from a position of experience and prolonged studio practice.

In Untitled (2022), through layering and superimposition, Graham achieves the painterly equivalent of an all-over Cubism, with the introduction of quasi-recognisable objects or symbols, simultaneously flattening and adding realistic depth to the compositions.

His technique of re-incorporating or stitching together motifs from previous bodies of painting perhaps adds to the familiarity of form, through which Graham finds his own harmonic, graphic outcome.

Although best known for his conceptual practice as a photographer and installation artist, Graham, has often turned to painting, in the first instance for his 2007 exhibition, 'Wet on Wet: My Late Early Styles'. Then generated from examples of abstract artists including Francis Picabia or Jean Arp, he moved on to Morris Louis-style drip painting, then shaped canvases and multipartite painting, before embarking on impastoed, midcentury modernist works in the manner of Lucio Fontana.

More recent works started with an example of Alexander Rodchenko, which was endlessly cut-and-pasted, rotated and transformed in Photoshop before becoming unrecognisable as source material. This body of works owe as much to Matisse as they do to Picasso, with windows, openings and shapes all coalescing into view. While his 'late early styles' could have been considered ironic experimentation with a post-medium condition, Graham has now developed his own 'mature' expression as a painter from a position of experience and prolonged studio practice.

In Untitled (2022), through layering and superimposition, Graham achieves the painterly equivalent of an all-over Cubism, with the introduction of quasi-recognisable objects or symbols, simultaneously flattening and adding realistic depth to the compositions.

His technique of re-incorporating or stitching together motifs from previous bodies of painting perhaps adds to the familiarity of form, through which Graham finds his own harmonic, graphic outcome.

Although best known for his conceptual practice as a photographer and installation artist, Graham, has often turned to painting, in the first instance for his 2007 exhibition, 'Wet on Wet: My Late Early Styles'. Then generated from examples of abstract artists including Francis Picabia or Jean Arp, he moved on to Morris Louis-style drip painting, then shaped canvases and multipartite painting, before embarking on impastoed, midcentury modernist works in the manner of Lucio Fontana.

More recent works started with an example of Alexander Rodchenko, which was endlessly cut-and-pasted, rotated and transformed in Photoshop before becoming unrecognisable as source material. This body of works owe as much to Matisse as they do to Picasso, with windows, openings and shapes all coalescing into view. While his 'late early styles' could have been considered ironic experimentation with a post-medium condition, Graham has now developed his own 'mature' expression as a painter from a position of experience and prolonged studio practice.