From 11th of  June to the 15th of August – Frac Champagne-Ardenne
British artist Dexter Dalwood has built a solid reputation over the last decade in Europe and the United States. This retrospective is an opportunity to discover paintings and collages made these last twelve years.

Dexter Dalwood’s works are mostly landscapes and interiors both built and imagined, without human presence, which all reflect different times, places or historical figures. They embody some idea of the “History Painting” and as their illustrious predecessors, the quotes, allusions and references therein upset at first sight seem very elusive and codified. However, as the works of 18th and 19th centuries to which they refer, these paintings are primarily an immediate attraction and power. They cover topics ranging from major political events (Ceausescu’s Execution, 2002; The Birth Of The A, 2003; Yalta, 2006) to imagined places marked by a traumatic event, or who simply lodged in our collective unconscious (Sharon Tate’s House, 1998; Neverland, 1999; Greenham Common, 2008; Camp David, 1999).

Other works on display, “portraits” of writers, artists and political figures more or less famous, such William Burroughs (2005) Diana Vreeland (2003) Capote (2004) or Hunter S. Thompson (2009). These characters are inscribed in our collective memory, and for one reason or another, seem to continue to exert some influence or fascination with both their work and lives. These “portraits” are constructed by Dexter Dalwood through the various links and associations he imagines.

At the root of almost all his paintings, there are small collages that he assembles many compositions by cutting elements directly from the pages of magazines or catalogs of art history. Then, in his paintings of large dimensions, these sharp cuts are faithfully reproduced, preserving a monumental scale the slight disturbance they cause.

The way in which Dexter Dalwood constructs his images, referencing and juxtaposing both the form and content, is very sophisticated. It mixes personal history with social and political history of art and popular culture to produce new constellations of meaning, complex and challenging. Postmodern and post-pop, the “History Paintings” Dexter Dalwood are characterized by their finesse and seduction. The accuracy of their statements and their accessibility is transmitted through the experience offered to us to share the political and cultural history they invoke.

Born in 1960 in Bristol, Dexter Dalwood lives and works in London (United Kingdom). After playing in the English punk Cortinas from 1976 to 1978, Dexter Dalwood studied at Central Saint Martins College of Art & Design and at the Royal College of Art in London.

Dexter Dalwood has participated in several major exhibitions, including Die Young, Stay Pretty at the ICA in London in 1998 and Neurotic Realism: Part Two at the Saatchi Gallery in 1999. His work has been exhibited at the Biennale of Sydney in 2002, the Tate Triennial in London in 2003, and the Van Abbemuseum Eindhoven and the Whitney Museum in New York. He is represented by Gagosian Gallery (Athens / Beverly Hills / London / New York / Rome) and Alan Cristea Gallery (London).