ARTITIOUS

Anmelden

Benutzername oder Email

Passwort

Passwort vergessen?
Keinen Account? Registrieren.

ARTITIOUS

Registrierung

Registrierung als Künstler Registrierung als Galerie Registrierung als Gast
Zurück zur Anmeldung

ARTITIOUS

Passwort vergessen?

Benutzername oder Email eingeben, um ein neues Passwort zu erhalten.

Zurück zur Anmeldung

David Powell Main Profile Image

David Powell

David Powell

The Hague, Netherlands

Contact gallery via Artitious

We will contact the gallery of the artist for you. In case the artist is not contracted with a gallery we will contact him / her directly.

Malerei • Born in Cardiff, United Kingdom • Studied at Slade School of Art, London. De Ateliers, Amsterdam
 9

Veröffentlicht  16.11.2016   |   Aktualisiert  17.09.2018

Confessions of an Ignominious Eye

My lifelong fascination with bands has more or less defined my relationship with imagery. John Peel was a
British DJ whose radio show gave a platform to alternative and experimental bands from the 1960s - 2000s.
For me, Peel was an important conduit into a world of small gigs and independent vinyl record stores, places
where you could browse for hours and always return home with several albums, e.p.s and singles. This...

Read more

My lifelong fascination with bands has more or less defined my relationship with imagery. John Peel was a
British DJ whose radio show gave a platform to alternative and experimental bands from the 1960s - 2000s.
For me, Peel was an important conduit into a world of small gigs and independent vinyl record stores, places
where you could browse for hours and always return home with several albums, e.p.s and singles. This year
I’ve started working on paintings of numerous bands such as Cocteau Twins, The Jesus and Mary Chain,
The Fall, The Smiths, Joy Division to name but a few. I’m really trying to create an atmosphere about these
histories and how they touch our lives.. The role of the archive for these works is dependent not just on my
own personal collection, but on open sources from the internet.

With the Shakespeare series I’m approaching and utilising painting as an archival tool, sampling and mixing the
related histories of painting, theatre, photography, cinema and literature to form a storyboard. My role in the
sourcing of images is similar to that of a middleman where the traditional narrative format becomes a playful
and open structure that contains self-referencing, intertextuality and intersubjectivity. 
The storyboard format challenges the traditional status of painting as a singular object by incorporating an
eclectic mix of perspectives on subjects from literature such as Dantes ‘Inferno’ and Shakespeare’s ‘The Tempest’.
To date, ‘Scenes from The Tempest’ (parts 1-16) 2018 contains images spanning the 17th-century to the present
day. What interests me are the ever-changing interpretive dimensions of the novel, poem or play in relation to
how histories are constructed and perceived through contemporaneously unfolding events. Shakespeare’s
‘The Tempest’ has been increasingly viewed through the lens of post-colonialist theory, as the main plot takes place
on an Island where the colonist (Prospero) meets and enslaves the colonised (Caliban). During Shakespeare's
time, Europe was conquering and colonising the world; forming empires and leaving its mark upon the indigenous
peoples of Africa, Asia and the Americas. Today, the raging debates around colonisation, both cultural and political,
are becoming evermore urgent. ‘Scenes from The Tempest’ 2018 addresses these hyper-current issues and raises
questions about authorship, co-authorship and appropriation.

Mark E.Smith 2 2018 - 18 x 24cm, oil and acrylic on canvas

Mark E.Smith 2 2018 - 18 x 24cm, oil and acrylic on canvas

Butthole Surfers 2 2018 - 18 x 24cm, oil and acrylic on canvas

Butthole Surfers 2 2018 - 18 x 24cm, oil and acrylic on canvas

Sex pistols 2 2018 - 29 x 35cm, oil and acrylic on canvas

Sex pistols 2 2018 - 29 x 35cm, oil and acrylic on canvas

Morrisey 2018 - 24 x 30cm, acrylic on canvas

Morrisey 2018 - 24 x 30cm, acrylic on canvas

Buzzcocks 2018 - 40 x 50cm, oil and acrylic on canvas

Buzzcocks 2018 - 40 x 50cm, oil and acrylic on canvas

Cocteau Twins 2018 - 25 x 32cm, oil and acrylic on canvas

Cocteau Twins 2018 - 25 x 32cm, oil and acrylic on canvas

Belinda 2018 - 37 x 30cm, oil and acylic on canvs

Belinda 2018 - 37 x 30cm, oil and acylic on canvs

Jim and Bobby 2018 - 46 x 35cm, oil and acrylic on canvas

Jim and Bobby 2018 - 46 x 35cm, oil and acrylic on canvas

Ian 3 2018 - 35 x 30cm, oil and acrylic on canvas

Ian 3 2018 - 35 x 30cm, oil and acrylic on canvas

The Fall 2018 - 24 x 30cm, oil and acrylic on canvas. Private collection, London

The Fall 2018 - 24 x 30cm, oil and acrylic on canvas. Private collection, London

Mark 2018 -30 x 30cm, oil and acrylic on canvas

Mark 2018 -30 x 30cm, oil and acrylic on canvas

The Smiths 2018 - 30 x 35cm, oil and acrylic on canvas

The Smiths 2018 - 30 x 35cm, oil and acrylic on canvas

The Tempest (part 1) 2018 - 70 x 355cm, acrylic on canvas, clips

The Tempest (part 1) 2018 - 70 x 355cm, acrylic on canvas, clips

The Tempest (Part 2) 2018 - 218 x 920cm, acrylic on canvas, clips. ‘The Tempest’ (1610 -1611) is thought to be Shakespeare‘s last written play, it has been mainly interpreted through theatre and film. I’m interested in approaching ‘The Tempest’ by utilising painting as an archival tool that will over time, form a storyboard. There are countless images that represent scenes from ‘The Tempest’ dating from the seventeenth century to the present day. ‘The Tempest’ has been increasingly viewed through the lens of post colonialist theory as the main plot takes place on an Island where the coloniser (Prospero) meets and enslaves the colonised (Caliban).

The Tempest (Part 2) 2018 - 218 x 920cm, acrylic on canvas, clips. ‘The Tempest’ (1610 -1611) is thought to be Shakespeare‘s last written play, it has been mainly interpreted through theatre and film. I’m interested in approaching ‘The Tempest’ by utilising painting as an archival tool that will over time, form a storyboard. There are countless images that represent scenes from ‘The Tempest’ dating from the seventeenth century to the present day. ‘The Tempest’ has been increasingly viewed through the lens of post colonialist theory as the main plot takes place on an Island where the coloniser (Prospero) meets and enslaves the colonised (Caliban).

Scenes from The Tempest (part 8) 2018 - 17 x 151cm, acrylic on canvas, clips

Scenes from The Tempest (part 8) 2018 - 17 x 151cm, acrylic on canvas, clips

The Tempest (Part 4) 2018 - 218 x 1000cm, acrylic on canvas, clips.

The Tempest (Part 4) 2018 - 218 x 1000cm, acrylic on canvas, clips.

Scenes from The Tempest (part 7) 2018 - 23 x 115cm, acrylic on canvas, clips

Scenes from The Tempest (part 7) 2018 - 23 x 115cm, acrylic on canvas, clips

Scenes from The Tempest (part 7) 2018 - 73 x 400cm, acrylic on canvas, clips

Scenes from The Tempest (part 7) 2018 - 73 x 400cm, acrylic on canvas, clips

What is it about your studio space that inspires you?

It's an island that you can go to, anything can happen.

What sounds, scents and sights do you encounter while in your studio?

Complex inter-relationships between things, accidents and order colliding always producing surprises.

What is your favourite material to work with? How has your use of it evolved throughout your practice?

The base materialism of a society and culture in ruins, any material is at my disposal.

What themes do you pursue?

Politics of class structure, sociological aspects of deviance, abjection, human behaviour.

What advice has had the biggest impact on your career?

That would be from Gilbert and George back in the nineties, they told me that I was a survivor, I didn't see it until they told me.

If you could install your art absolutely anywhere, where would that be?

In public or private collections, seeing the work in relation to other peoples habitats, their personal surroundings.

If you could only have one piece of art in your life, what would it be?

A 'Dirty Words' photo scultpure by Gilbert and George

If you weren´t an artist, what would you be doing?

Actor, something in film

What are your favourite places besides your studio?

Restaurants, bars, bed.


EXHIBITIONS

SOLO

2018

Scenes from The Tempest

2017

Inside Out, Sis Josip Galerie, The Hague

'Inside Out' - Sis Josip Galerie, The Hague, The Netherlands

show all

GROUP

2017

The Good, the Bad and the Ugly, Helicopter project space, The Hague

2016

Douglas Park: Post-Terminal & Ex-Ultimate, (guest interviewer) WEST, Den Haag, Netherlands

2013

Gallery artists, Sabine Wachters Fine Arts, Knokke, Belgium

show all

WORKS IN COLLECTIONS

Stedelijk Museum, Stedelijk Musem Amsterdam, Netherlands

GALLERIES

Sabine Wachters Fine Arts | http://www.sabinewachters.com/index.php?article_id=6

AWARDS

2013 STROOM Pro Deo Award, Den Haag, Netherlands

2010 FONDS BKVB Basis Stipendium, Netherlands

2005 FONDS BKVB Basis Stipendium, Netherlands

EDUCATION (detailed)

1987 - 1988 Cardiff College of Art & Design, South Glamorgan Institute of Higher Education, UK

1988 - 1992 Slade School of Art, University College London, UK

1994 - 1996 De Ateliers, Amsterdam, Netherlands


For more information and inquiries about this artist, please contact Artitious by emailing to artist@artitious.com

Other artists...

more artists...