JP Art Consultancy| David Drey

David Drey’s paintings have basically two narratives running through them. There is the narrative of the subject, derived either from everyday life, memory, imagination or art history and the narrative of the painting as a free improvisation with forms, colours, textures and marks which takes on a life of its own. These two narratives battle it out for some sort of equilibrium. The impulse to engage with non-objective formal relations collides with the impulse towards representation of things, figures and places. I am interested in both these aspects of painting.


Dore Ashton writing about Phillip Guston refers to the conflict between “aestheticism and the world in modern painting”, which longs to be explicit and at the same time abstract; longs to be concrete and at the same time ambiguous, ephemeral.” ‘This tension would seem to be very evident in the work of Matisse and Picasso for instance and within the field of contemporary art I relate most to those with one foot still in this expressive quest; Georg Baselitz, Per Kirkeby, Frank Auerbach and Roy Oxlade to give a few examples of prominent innovators in this area who have been an inspiration.


I am fascinated by the way children learn to draw and I think there is something to be learned from the way young children work with equivalences for things without inhibition while at the same time experimenting with how to figure forth their ideas’.

 

 Byam Shaw School of Art, London