Ian Davenport: MelismaticIan Davenport: Melismatic Thu 8 Jun 2017 to Mon 31 Jul 2017
A major new body of etchings and monoprints by Ian Davenport, YBA and graduate of Goldsmiths College of Art, London.
Davenport, who is driven by an enduring fascination with the materiality and process of painting and printmaking, has made a series of monumental triptychs, his largest prints to date, inspired by the colour compositions of historical paintings by Hans Holbein, Gustav Klimt, and Vincent van Gogh. These works are shown alongside further etchings and a series of splatter screenprints, a departure from Davenport’s signature technique of vertical lines cascading down into rich puddles of colour.
Melismatic, a musical term which refers to the singing of a single syllable of text whilst moving between several different notes in succession, includes Davenport’s largest and most ambitious editions to date. Four monumental etched triptychs, each an orchestration of 42 different colour combinations, are rendered in fluid lines of colour which pool to form puddles at the bottom of the compositions and each measure 177 x 255 cm. The Ambassadors (After Holbein), 2017, and Primavesi (After Klimt), 2017, are abstract interpretations of the colours used in Holbein’s famous painting, The Ambassador, 1533, and Gustav Klimt’s 1912 painting, Portrait of Mada Primavesi.
These works are accompanied by two unique monoprint etchings, entitled The Marriage (After Perugino), 2017 and Elise (After Van Gogh), 2017, each one a more daring exploration of colour and line. These prints are complemented by a recent series of etchings, under the group title Colourcade Buzz, made using chine collé. Experimentation, improvisation, and exploring the accidental are a vital part of the creative process for Davenport. The second part of the exhibition Davenport switches to a totally new format in which the printed colours are splattered rather than poured. This completely new departure in his work appears in the form of six screenprints under the group title of Colour Splat.
Davenport, who remains one of the youngest ever, nominees for the Turner Prize, has had over forty solo shows across Europe and the USA, and major commissions around the world including Poured Lines: Southwark Street, 2006, in London, a 48 metre wide painting on a bridge which is one of the largest permanent public artworks in the UK.
Melismatic is Davenport’s fourth solo exhibition at the Alan Cristea Gallery, who are the exclusive worldwide representative for Davenport’s original prints. Giardini Colourfall, 2017, a 14 x 8.3 metre painting, by Davenport is currently on show at the Giardini Pavilion, Venice, for the 57th Venice Biennale, until 26 November 2017. This installation, of over 1,000 stripes, was commissioned by Swatch, together with a new Swatch Art Special watch in a limited edition of 1,966.
Ian Davenport, Colourcade Buzz: Red and Orange Mirrored, 2017. Unique etching with chine collé on Hahnemühle Bright White 350gsm paper, framed. Paper 115.0 x 165.8 cm / Image 96.8 x 149.5 cm
Ian Davenport, Poured Triptych Etching: Primavesi (After Klimt), 2017. Etching with chine collé on three sheets of Hahnemühle Bright White 350gsm paper. Paper 177.0 x 255.0 cm / Image 159.0 x 239.0 cm. Edition of 15
Ian Davenport, Poured Triptych Etching: Ambassadors (After Holbein), 2017. Etching with chine collé on three sheets of Hahnemühle Bright White 350gsm paper. Paper 177.0 x 255.0 cm / Image 159.0 x 239.0 cm. Edition of 15
Ian Davenport, Colour Splat Edge (white), 2017. Screenprint. Paper and image 85.0 x 56.5 cm. Edition of 25
Ian Davenport, Colour Splat Edge (black), 2017. Screenprint. Paper and image 85.0 x 56.5 cm. Edition of 25
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