plays with the media of painting and redefines its boundaries. In
his works, figuration meets abstraction, the object meets
self-reflection. In addition to his drawings on paper, the artist
is exhibiting a range of large-format textile works. Like skins
hung up to dry, the painted Molton or linen fabrics hand on bamboo
rods and branches, giving the appearance of relics of a secretive
event, a ritual act. The drawings are often placed one above the
other in several layers or in an overlapping configuration; the
material is partly torn, perforated or frayed. Working methods,
design vocabulary and material selection have a hint of the
archaic, sometimes even heraldic. Additional associations with life
forms of times long gone are revived by imaginative vegetal
structures on paper, which in their delicacy create a contrast to
the motifs of the large formats. The modified representation of the
eye - an important symbol in many cultures since time immemorial -
plays an important role and once again points to the use of
symbolic language and stylistic idiom of ancient cultures.
creates a spatial presence that not only goes back to its powerful
colours and shapes but also arises from the occasional escape from
two-dimensionality. His assemblages are characterised by the
playful combination of discovered objects, the stiff feel of
colour-soaked materials and the superimposition of individually
designed motifs. An idiosyncratic complexity emanates from this
interplay that permeates Sebastian Dacey’s
work like a recurring theme.
Sebastian Dacey (born in 1982 in London) lives and works in
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