Latest Tweets

New unique sculpture by artist and taxidermist Polly Morgan: Metanoia https://t.co/hZtWZdXY6z https://t.co/FliLIOcca4
22 hours ago

RT @6sqft: 5 places to buy affordable modern art in NYC @Gagosian @whispereditions @objectify_nyc @other_criteria @aaflondon https://t.co/8…
Yesterday

Lat day @Art_Miami – Booth B507 presenting New Damien Hirst: Love is All You Need as well as new work by Harland Mi… https://t.co/DPzGMR48sX
3 days ago

12 Aesthetically Pleasing Gifts for the Art Lover https://t.co/jOhuuKu8eQ via @ArchDigest https://t.co/Zjb3Up1GVl
5 days ago

In Miami this weekend? Join us booth B507 @Art_Miami to discover new works by #DamienHirst #HarlandMillerhttps://t.co/iyKkDT7PS4
5 days ago

Our newest editions by Damien Hirst are showcased at @Art_Miami until Sunday 4th December https://t.co/chBFKIYfOs https://t.co/cvKpOCorlo
1 weeks ago

#NEW Damien Hirst edition: Love is All You Need – exclusively available at Other Criteria https://t.co/dOMvUc1QMq https://t.co/yi55B18Tqh
1 weeks ago

Phillip Allen at Kerlin Gallery

July 16, 2013 by Kay

Phillip Allen: oxblood

Kerlin Gallery, Dublin

Until 20th July

In many of the paintings made by Phillip Allen over the last decade, a vivid and ebullient graphic clarity contends with more convulsive painterly features. His paintings have often presented brightly coloured, interconnecting volumes or repeating, distending patterns within more mutedly toned, wide-open zones. Bordering these spaces at the upper and lower limits of the canvas, Allen’s trick has been to lay down richly abundant lines of curling impasto paint: glorious blooms and bursts of multifarious colour that thickly combine to frame and deepen the visual drama at the centre of the picture. But what we see is never quite clear, never entirely ‘contained’. The graphic elements often offer hinting suggestions of buildings or other tall structures – they sometimes resemble wonky or wildly implausible monuments – but the precarious, piled-up shapes also at times allude to letters or numbers, as if a kind of coded communication were being proposed.  Invariably, Allen shows us something being assembled – there is recurrent piecing-together of basic elements – but the results depart thrillingly from rational organisation, towards a more dream-like, open-ended and associative way of imagining a world.

Lately, his paintings have expanded in scale, and they have begun to present still more hazy and ambiguous arrangements.  As ever, there is a concentration on accumulations of fundamental forms – often, now, the geometric shapes that provide the historical basis of painterly composition – but the surfaces are now a storm of agitated scribbles and incessant drips. Each ‘composition’ in these powerful works is in a state of decomposition. If as one title (from 2012) suggests, ‘Delusions provide solutions’ Allen’s recent works also showing him taking on the painterly challenge of scrupulous ‘dissolution’.