•  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
  •  Installation Shots From: Gaiety Is the Most Outstanding Feature of the Soviet Union
    Gaiety Is the Most Outstanding Feature of the Soviet Union
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Dominic Beattie

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SELECTED WORKS BY Dominic Beattie

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Dominic Beattie
Untitled

2012

Aluminium, collage, ink and varnish on board

43 x 32 cm
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Dominic Beattie
Untitled

2012

Collage, tape, ink and enamel on board

45 x 33 cm
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Dominic Beattie
Untitled

2012

Ink, paper, collage and spray paint on canvas

36 x 32 cm
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Dominic Beattie
Untitled

2012

String, ink, cloth, tape and collage on board

44 x 33 cm
*
Dominic Beattie
Untitled

2012

Ink, paper and tape on board

46 x 32 cm

ARTICLES

Dominic Beattie
2010, Issue 24, The Hospital Club

Dominic Beattie was born in Camberwell, London in 1981.
He graduated from Camberwell College of Arts with a First Class Honours degree in 2003 and has since worked as a visual artist and illustrator.
Dominic recently exhibited a series of nine new works at The Hospital Club in Covent Garden for his first solo exhibition. He has previously exhibited in numerous group shows and art fairs around London and has had illustrations published
in leading music magazines, including Artrocker and The Wire.
Dominic’s recent body of work has been successfully embraced by its audience, and key pieces have been acquired by a series of collectors, most notably, Charles Saatchi.
Dominic’s visually arresting graphic style is a meld of long held interests and learnt techniques.
His interest in pop sensibilities, underground comix and tribal imagery, are apparent in his dynamic drawings. He attempts to create an intense visual experience through the simple use of bold block colour and rhythmic outlines.
Dominic welcomes enquiries about his artwork or potential commissions.

Read the entire article here

Source:thehospitalclub.com


Please Drive Slowly Through Our Village
Oct 2011, By Rebecca Geldard, Art Review

The exhibition’s soup could be easily reduced to include these three and Dominic Beattie’s canvases, his Pop-style undoing of minimal painting’s hard-edged heroics well suited to the mix. In one illusory composition the grid has become a potato waffle, punctured improbably by a straight, grey length of something.

The pithy nature of this group’s handling of form and function doesn’t do any favours for the subtle folkloric sensibilities of neighbouring works – positioning them, unfairly perhaps, as the straight-man in the joke. Annabel Elgar’s large-scale photo of a cabin interior, featuring a curious bread sculpture, appears more charmingly than eerily uncanny when viewed in tandem with the dough castle itself. Caught between the implied narrative and staging of the image, one is left questioning the validity of both. While curator Simon Willems’s narrative (about a German hermit who became unwittingly famous in death) is intriguing, the accompanying paintings appear the anecdotal visualisations of it. Angie Hicks, however, gets the municipal/cult, functional/obsolete object-balance just right Her slight yet violent slo-mo film, which describes the pretty, if meaningless, destruction of a useless object – a plaster cast of a clothes iron – gives gaseous form to the question: ‘What’s the point of art?’ It’s a thought that continues to circulate the room like a silent but potentially deadly fart.

Read the entire article here

Source:artreview.com