SELECTED WORKS BY Dan Perfect
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Dan Perfect
Antelope Canyon
2005
Oil and acrylic on linen
183 x 257 cm |
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Dan Perfect’s works merge the free-flow of painterly intuition with the visual impact of graphic design. Influenced from sources as diverse as street art, surrealism, art deco, and pop, Perfect’s abstract canvases resolve as explosions of suggestive forms and colours, each precariously balanced in the effusive currents of his compositions. Executed with flamboyant intensity, the raw energy conveyed through Perfect’s paintings reveals an engagement with both the intimacy of gesture and a coercive negotiation of mass media.
Capturing the plastic hued excess of urban cacophony and TV screen blips, Perfect’s aesthetic of spontaneous action is the result of carefully considered process. Each painting is developed from his practice of making boldly expressive ‘automatic’ drawings, elements of which are traced, overlapped, conglomerated, and modified as they are transferred onto the canvas. Coming from a background in print-making, Perfect builds up each canvas in a series of layers, concentrating on one visual component at a time and expatiating its form for maximum effect.
Treating each motif as an individual entity, Perfect’s paintings present a chaotic sensation of spatial disorientation and weightlessness, as if arresting the velocity of imagination in freeze frame. Through combining flat fields of colour, delicate washes, and fervid brush strokes, with elements of heavily outlined illustration and ephemeral drawing, Perfect contrives a lexicon of painterly expression, reworking the signifiers of contemporary experience as consumables for infatuation and compulsion. |
Dan Perfect
Brujo
2005
Oil and acrylic on linen
183 x 257 cm |
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Dan Perfect
Hung Out
2005
Oil and acrylic on linen
183 x 213 cm |
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Dan Perfect
Uproar
2007
Oil and acrylic on linen
183 x 257 cm |
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Dan Perfect
Apparition
2007
Oil and acrylic on linen
183 x 257 cm |
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Dan Perfect
Village
2007
Oil and acrylic on linen
183 x 257 cm |
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Dan Perfect
Aleph
2007
Oil and acrylic on linen
183 x 257 cm |
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ARTIST INFORMATION
ARTICLES
dan perfect
One in the Other is pleased to present a solo exhibition of new paintings by Dan Perfect.
Perfect’s work came to prominence in ‘Death to the Fascist Insect that Preys on the Life of the People’ at Anthony d’Offay Gallery in 2001. A cartoon, Klee-like directory of pictorial schemata, in hard black outline, floated across abstracted grounds of hazy, airbrushed bands of rainbow colour – a subtle reworking of 1960’s post-painterly approach to abstraction. The ground of the paintings carried a bright opalescence that was both fixed and transparent – opaque and illusionistic. The pictorialism was a recurring index of motifs, figures and landscape architecture that owed much of its sovereignty to a lexicon of 1930’s Surrealism and 1950’s Anthropomorphism. In 2002, for these works, Perfect was selected for Beck’s Futures at the ICA, London.
From this way of structuring his images, Perfect started to radicalise his use of the schematic ground. Whereas previously the paintings could be thought of, in both their execution and composition, as following a system of figure and ground, they now collapse into a single, seamless myriad of visual activity. Whilst the bands of colour have disappeared, the lined, ‘drawn’ equation of the earlier work has been retained. This element, however, is now so amplified into a burgeoning cast of characters, squiggles, signs, symbols and leitmotifs, as to become a visual force and landscape itself - as opposed to the descriptive function it served formerly. It is now at the heart of a visual enterprise that encompasses graffiti and automatic drawing as well as the references to 1930’s and 1950’s imagery and painting.
Despite appearing to use an all-over approach to the canvas, Perfect uses a system of separation and layering to translate the freehand and subliminal material that originates from his drawings on paper. This process, whilst affording the freedom of control and coherence, allows for elements of ‘printmaking’ and the ‘collaged’ to appear in the work. This takes away the flurry of expressionism the types of marks used would otherwise, superficially, be inclined to suggest, and helps to articulate the range of vocabulary Perfect can draw upon.
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Source: oneintheother.com
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