Beschreibung:

Dexter Dalwood Paisley Park 1998 Oil on canvas. 59 7/8 x 72 in. (152 x 183 cm). Signed, titled and dated “Dexter Dalwood Paisley Park 1998” on the stretcher.
Provenance Acquired directly from the artist Exhibited London, Institute of Contemporary Art, Die Young, Stay Pretty, November 13, 1998 – January, 10, 1999; Liverpool, Tate, Remix: Contemporary Art and Pop, May 25 – August 26, 2002 Literature Institute of Contemporary Art, Die Young, Stay Pretty, London, 1998, n.p.(illustrated); Tate Gallery Liverpool, Remix: Contemporary Art and Pop, London, 2002, p. 52 (illustrated) Catalogue Essay With his breakthrough into the contemporary art scene in 1998 after being included in the group show Neurotic Realism, Dalwood would increasingly find himself confronting concepts of fame and celebrity obsession. The concept of images and personas constantly being projected into one’s social consciousness would become an integral part of Dalwood's work. With its somewhat "retro" combination of colours, Paisley Park is a fundamental work by the artist highlighting the painterly and party-playful-as-artistic source material. Imagined to be the recording studio of the singer Prince, Dalwood presents a scene devoid of any human subject. Using colour as referential material, in this case purple, which is the singer’s trademark, Dalwood allows for viewers to imagine the pop star within the imagined space. In a sense, Paisley Park is a painting that evokes both memories of music and the pop myths of our time. Dalwood's work plays on the familiar, the vaguely recognised, and the unattributable, whilst exploring the visual language and the function of the imagination in understanding possible relations expressed in painting. Read More