Hurvin Anderson
Born in Birmingham, UK, of Jamaican parents, Hurvin Anderson comments
on the 'exotic' - what is generally expected from lush Caribbean
landscapes or interiors in which people relax or unwind. Drawing from
his time spent in an artist's residency in Trinidad, his family in
Jamaica, and his home in London, his work establishes a constant
dialogue between both worlds. Beneath the level of observation,
Anderson offers not only a kind of social commentary but also a
contemplation of his own relationship with the Caribbean. Belying
scenes of traditional places of leisure; parks, swimming pools, bars
and restaurants is a sense of detachment and even unease.
This theme persists in the rigorous, almost geometrical renditions of his interiors shown here. Working from photographic material rather than memory to replicate his subject, Anderson constantly reworks the themes and images that interest him. Here we see more from his Welcome series in which the security grilles, prevalent on West Indian bars, are depicted as being beautiful and accomplished in their architectural detail. On large sheets of paper, the grilles have been reduced to pure abstraction and though an elegant motif, they are, still, a method of keeping someone either in, or out. In further paintings from the Marlene's series, another room is glimpsed through the grilles, intricate in its detail and depth of perspective. Here and in his Barbershop, Anderson's multi-layered interior is at once inviting in its sense of familiarity and yet somehow feels isolated. Mirrors in the background create an infinite perspective, heightening a sense of the depth of the interior that remains apparently unattainable to the viewer.
Copyright Gasworks
Selected Exhibitions
2009 'Art Now',Tate Modern, London
2008 'Solo Exhibition', Thomas Dane Gallery
2007 'Very Abstract and Hyper Figurative', Thomas Dane Gallery, London
2006 'A View on the River Cobre', Dulwich Picture Gallery, London
2005 'New Paintings',Thomas Dane, London
2004 'Back to Paint', C & M Arts, New York
Please follow this link to see an extended CV, http://www.thomasdane.com/
Copyright Thomas Dane Gallery
Shown by
Thomas Dane Gallery, London
Anthony Meier Fine Arts, San Francisco
This theme persists in the rigorous, almost geometrical renditions of his interiors shown here. Working from photographic material rather than memory to replicate his subject, Anderson constantly reworks the themes and images that interest him. Here we see more from his Welcome series in which the security grilles, prevalent on West Indian bars, are depicted as being beautiful and accomplished in their architectural detail. On large sheets of paper, the grilles have been reduced to pure abstraction and though an elegant motif, they are, still, a method of keeping someone either in, or out. In further paintings from the Marlene's series, another room is glimpsed through the grilles, intricate in its detail and depth of perspective. Here and in his Barbershop, Anderson's multi-layered interior is at once inviting in its sense of familiarity and yet somehow feels isolated. Mirrors in the background create an infinite perspective, heightening a sense of the depth of the interior that remains apparently unattainable to the viewer.
Copyright Gasworks
Selected Exhibitions
2009 'Art Now',Tate Modern, London
2008 'Solo Exhibition', Thomas Dane Gallery
2007 'Very Abstract and Hyper Figurative', Thomas Dane Gallery, London
2006 'A View on the River Cobre', Dulwich Picture Gallery, London
2005 'New Paintings',Thomas Dane, London
2004 'Back to Paint', C & M Arts, New York
Please follow this link to see an extended CV, http://www.thomasdane.com/
Copyright Thomas Dane Gallery
Shown by
Thomas Dane Gallery, London
Anthony Meier Fine Arts, San Francisco
