|1994–1995||MA Painting||Chelsea College of Art and Design, London|
|1985–1988||BA (Hons) Painting||Chelsea College of Art and Design, London|
|ONE PERSON EXHIBITIONS|
|2015||Bare Foot Prophet||CHARLIE SMITH LONDON, London|
|2012||Jerusalem||CHARLIE SMITH LONDON, London|
|2010||Lucifer Rising||CHARLIE SMITH LONDON, London|
|2010||Mycelium||The Arts University College at Bournemouth|
|2009||In the Country of the Blind||Galerie Schuster, Berlin|
|2001||Recent Paintings||Clapham Art Gallery, London|
|2000||Contemporary Romantic||Clapham Art Gallery, London|
|1998||New Paintings||Cadogan Contemporary, London|
|SELECTED GROUP EXHIBITIONS|
|2016||Strange Worlds: The Vision of Angela Carter||RWA, Bristol|
|2015||The Fantasy of Representation||Beers Contemporary, London|
|2015||Das Unheimliche (curated by Zavier Ellis)||CHARLIE SMITH LONDON, London|
|2015||Die English Kommen! New Painting from London (curated by Zavier Ellis)||Galerie Heike Strelow, Frankfurt|
|2014||Saatchi’s New Sensations and THE FUTURE CAN WAIT (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson)||B1, Victoria House, London|
|2014||Cultus Deorum (curated by Zavier Ellis)||Saatchi Gallery, London|
|2013||Saatchi Gallery & Channel 4’s New Sensations and THE FUTURE CAN WAIT (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson)||B1, Victoria House, London|
|2012||Saatchi Gallery & Channel 4’s New Sensations and THE FUTURE CAN WAIT (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson)||B1, Victoria House, London|
|2012||Black Mirror (with John Stark)||Galerie Lichtpunkt - Ambacher Contemporary, Munich|
|2012||Polemically Small (curated by Zavier Ellis & Edward Lucie-Smith)||Orleans House Gallery, Twickenham|
|2012||Critical Dictionary||WORK, London|
|2012||The Perfect Nude (curated by Phillip Allen & Dan Coombs)||CHARLIE SMITH LONDON, London|
|2012||The Perfect Nude (curated by Phillip Allen & Dan Coombs)||Wimbledon Space, London|
|2012||The Perfect Nude (curated by Phillip Allen & Dan Coombs)||Phoenix Gallery, Exeter|
|2011||Saatchi Gallery & Channel 4’s New Sensations and THE FUTURE CAN WAIT (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson)||B1, Victoria House, London|
|2011||Charlie Sierra Lima||CHARLIE SMITH LONDON, London|
|2011||Beyond the Commission||The Arts University College, Bournemouth|
|2011||Polemically Small (curated by Edward Lucie-Smith)||Klaipeda Culture Communication Centre, Klaipeda|
|2011||THE FUTURE CAN WAIT presents: Polemically Small (curated by Zavier Ellis, Edward Lucie-Smith, Max Presneill & Simon Rumley)||Torrance Art Museum, Torrance|
|2011||Polemically Small (curated by Edward Lucie-Smith)||Garboushian Gallery, Beverley Hills|
|2010||THE FUTURE CAN WAIT (curated by Zavier Ellis & Simon Rumley)||Shoreditch Town Hall, London|
|2010||Territories||Galerie Schuster, Miami|
|2010||Papyrophilia||CHARLIE SMITH LONDON, London|
|2010||DEMONOLOGY||CHARLIE SMITH LONDON, London|
|2010||New British Painting||Gallery Kalhama & Piippo Contemporary, Helsinki|
|2009||THE FUTURE CAN WAIT (curated by Zavier Ellis & Simon Rumley||Old Truman Brewery, London|
|2009||New London School (curated by Zavier Ellis & Simon Rumley)||Galerie Schuster, Berlin|
|2008||THE FUTURE CAN WAIT (curated by Zavier Ellis & Simon Rumley)||Old Truman Brewery, London|
|2007||THE FUTURE CAN WAIT (curated by Zavier Ellis & Simon Rumley)||Old Truman Brewery, London|
|2007||Dominic Shepherd & Julian Lee||Galerie Schuster, Berlin|
|2007||Meeting Place||Russell Cotes Art Gallery & Museum, Bournemouth|
|2006||Town & Country||Francis Hair Fashions Gallery, London|
|2005||Between Dog and Wolf (with Emma Bennett)||Clapham Art Gallery, London|
|2005||Bournemouth University Art Loan||Bournemouth University, Bournemouth|
|2004||Forever Beautiful||Clapham Art Gallery, London|
|2004||John Moores 23||Walker Art Gallery, Liverpool|
|2004||Dominic Shepherd & Liza Campbell||Michael Naimski Gallery, London|
|2002||Print UK||Manhattan Graphics, New York|
|2002||If Pressed||Sherborne House Arts|
|2000||Defining the Times||MK G, Milton Keynes|
|1999||Made in England||Vasby Kunsthall, Stockholm|
|1998||Winter Show||E1 Gallery, London|
|1997||Art in the 90’s: Pure Fantasy||Oriel Mostyn, Llandudno|
|1996||Gilchrist Fisher Memorial Award||Cadogan Contemporary, London|
|1995||SBC European Art Prize||Smithfield Gallery, London|
|1995||7th Oriel Mostyn||Oriel Mostyn, Llandudno|
|AWARDS & RESIDENCIES|
|2004||John Moores 23, Visitors Choice Prize|
|2000||Oppenheim-John Downes Trust Award|
|1999||Oppenheim-John Downes Trust Award|
|1998||Artist in Residence||Oriel Mostyn Gallery, Llandudno|
|1995||Liquitex Excellence in Art Award|
|1994||Portugal 600 Travel Award||Portugal|
|1993||South East Arts Training Award|
|1993||Artist in Residence, Shave International Artist’s Workshop||Somerset|
|1992||SEA Young Artist of 1992|
|1989||Artist in Residence||Koursalo Island, Finland|
|1988||Henry Biddulph Travel Scholarship|
|2014||Black Mirror 0: Territories, editorial introduction by Dominic Shepherd||Fulgur Esoterica|
|2013||The Golden Age: Between Wilderness and Utopia, Dominic Shepherd||The New Pastoral Issue, Architectural Design|
|2011||The Saatchi Gallery & Channel 4’s New Sensations and THE FUTURE CAN WAIT||Ellis Rumley Projects & Saatchi Gallery|
|2011||Critical Dictionary, edited by David Evans||Black Dog Press|
|2010||Mycelium, Gavin Parkinson||Text + Work|
|2008||THE FUTURE CAN WAIT||Ellis Rumley Projects|
|2007||Meeting Place||Exhibition Catalogue|
|2007||Critical Dictionary 12 & 14||criticaldictionary.com|
|2005||Bournemouth University Art Loan||Exhibition Catalogue|
|2005||Hansel & Gretel||Volume 1, Issue 3, Tales Magazine|
|2004||John Moores 23||Exhibition Catalogue|
|2004||The Labyrinth of the Gaze, edited by Gavin Turk||Five|
|2000||Dominic Shepherd & Clapham Art Gallery, Oliver Jones||What's On Magazine|
|1997||Art in the 90's: Pure Fantasy, Susan Daniel||Exhibition Catalogue|
|1996||Seventh Mostyn Open, Mel Gooding||Volume 3, Contemporary Art|
|Paula Granoff, Providence, Rhode Island|
|Steve Shane, New York|
|Markus Winzer, Untersiemau|
|Private collections in Australia, France, Germany, Japan, Switzerland, United Kingdom & United States|
|DOMINIC SHEPHERD | Bare Foot Prophet|
|Exhibition Dates : Friday 15 May – Saturday 20 June 2015|
|‘To make sure of what I already suspected, I leaned out over the water and I lifted the lantern, and out of the black watery mirror a face peered up at me, a face with severe and solemn features and grey eyes, an old knowing face, and it was I.’
Hermann Hesse, ‘Flute Dream’
The bare foot prophet lives in the wilds, against the mainstream. Proto hippies such as Karl Wilhelm Diefenbach and Gustav Nagel lived by their own codes, intentionally positioning themselves against convention. Embracing nature; rejecting the institutional; reinterpreting the commonplace, the bare foot prophet finds truth in nature and formulates his own mythologies.
In this exhibition Dominic Shepherd responds to the progress of our times, channelled via his own idiosyncratic circumstances. Edging towards the end of an idyll, where development has come to interrupt a fifteen year reverie, the artist states: ‘this new body of work has been made to the sound of chainsaws and burning of trees that glow in the night’. Shepherd’s paintings during this period have become a personal record of an attempt to live apart from everyday contemporary society, where the woods have provided a canopy wherein have lain dream, imagination, fantasy and contemplation.
Shepherd’s method is to fuse life and work, refracting information from the ages with prismatic effect. Folkloric and cult cyphers are blended with the personal as Shepherd freezes time, casting his masquerading subjects in a fictionalized place that might just be real. There is a slippage of time and place where it becomes impossible to unravel reality from illusion. Shepherd’s paintings combine to elucidate a personal mythology populated by his very own deities, heroes, ancestors, and progeny.
Please contact the gallery for images and further information
|DOMINIC SHEPHERD | Jerusalem|
|Exhibition Dates : Friday November 23rd – Saturday December 22nd 2012|
|The road of excess leads to the palace of wisdom
In William Blake’s poem ‘Jerusalem’ the 18th century visionary asks whether Jesus Christ once visited England, as legend has suggested. And he asks, ‘was Jerusalem builded here, Among these dark Satanic Mills’? In doing so Blake condenses over a thousand years of history by visualising Jerusalem - or heaven - in the contemporary landscape of early industrialisation, and in England. The phrase ‘dark Satanic Mills’ belies Blake’s concern about the development of society, where relentless industrial and capital progress became a clear and prevailing threat to the individual and the spiritual. The perceived loss would be the pastoral, idyllic lifestyle defined by natural simplicity. At least, this is the view that returns in cycles throughout history and is recalled again by Dominic Shepherd.
Shepherd’s paintings represent a contemporary visualisation of the Golden Age, that idealised, mythical time in Arcadia of innocent pleasure. As with Blake’s ‘Jerusalem’, it is a place similar to Eden, that resonates with any individual who longs to remove himself, as Shepherd has done, from the flux of city life – from the industrial and technological. But the Latin phrase ‘Et in Arcadia ego’ warns us that ‘Even in Arcadia, I [death] am there’. And similarly Shepherd shows us that fear and loss also inhabit these mythical, idyllic worlds. Drawing on folklore and the transference of wisdom through festival and ritual, Shepherd depicts his subjects performing such rites. ‘The ghosts of England’ - Pearly Kings, Morris dancers, romantic poets, gurus - occupy his paintings, ‘working, singing or dying to create a New Age of Romantic pastoralism’. However, these pastoral revivalists twist and implode in the midst of Epicurean hedonism and counter cultural zeal.
Shepherd’s recent reintroduction of the tondo and of trompe l’oeil frames painted within the picture plane serve to help the illusion of observing this other world. We are quite literally given windows – or perhaps mirrors – that invite us to witness the rituals within his elaborate alternative reality. Personal memory, cultural and political history, dream, imagination and the hallucinatory are drawn on to form symbols, obscure meanings, suggested narratives, and allusion to the arcane. This invented domain is the artist’s New Jerusalem.
|DOMINIC SHEPHERD | Lucifer Rising|
|Exhibition Dates : Friday November 5th – Saturday December 4th 2010|
|CHARLIE SMITH LONDON is delighted to present Dominic Shepherd with his first one person show at the Old Street gallery.
In Latin Lucifer means ‘light bearer’, and came to refer to the planet Venus, otherwise known as the ‘Morning Star’, which can be witnessed an hour before sunrise in the skies of the east and an hour after sunset to the west. Lucifer then, signifies first light, the time when the darkness and mystery of night turn towards the clarity of dawn. It is at this point with its shifting nuances where Dominic Shepherd’s most recent paintings operate.
Shepherd invites us into a time and place that is in-between, a place of mystery and the imagined. Calling to mind John Fowles’ ‘The Magus’, Shepherd envisions a place populated by magicians, solitary wanderers, messengers, lost poets, artists and musicians, a place that is between reality and sur-reality where the macabre and the frivolous walk hand in hand. This imagined place is prompted by Shepherd’s own immediate environment, where cottage and studio sit isolated in a clearing within dense Dorset woods. Stepping into these woods at night one feels simultaneously stimulated and threatened, but one is urged to embrace the shadows and the illusion that lie therein, where the fictive obfuscates truth.
At night, perhaps, such experience is appropriate, during the time of revelry and ritual, magic and intoxication. All take place beneath the cover of darkness. But at the hour of daybreak, as the morning star rises, thresholds other than night to day are broken. Reality returns and with it a wistful awareness of a loss of the other. The dreamlike and hallucinatory are overcome by a confrontation of the self where one can emerge enlightened as with St John of the Cross or fallen as with so many romantic heroes from throughout history. Indeed, Shepherd’s canvases might be populated by lost icons and anti-heroes such as Hesse, Redon, Shelley, Blake or Wagner or more contemporaneously Jack Kerouac, Keith Richards or Charles Manson. ‘The sleep of reason brings forth monsters’, cautioned Goya and Shepherd outlines that escapism, individualism and heroism, and the drives of the intuitive and the unconscious can bring egotism, destruction and excess as well as beauty, magic and discovery, thus simultaneously enticing and forewarning.
|GAVIN PARKINSON | Festival, or, First and Last of England|
|Exhibition Dates: Friday November 23rd – Saturday December 22nd 2012|
|‘What is now proved was once, only imagin’d.’
William Blake, The Marriage of Heaven and Hell (c. 1790)
After the Olympics and in advance of Scottish independence (probably), we English are looking at England again: the things we thought and think it was; what we believe it became; what its futures might be. What constitutes England today? The question is instantly intimidating; it seems mired in difficulties to do with sentimentality, modernity, economics, and politics. In fact, it is all ‘politics’ of a kind: our dying, revived, beloved (of some) folk traditions might be just the creation of an affluent middle class (the Fakesong argument); modern globalism might not allow space for independent, local, national cultures, which perhaps engender nationalism, parochialism, and racism anyway (the ‘little England’ argument); capitalist consumerism and the mania for profit potentially crushes the life out of local events and rituals, reducing them to a set of saleable clichés by the very act of turning them into ‘culture’ (what could be more consumable?). Might there be a set of activities and even a way of living – here in England and even in London – that is historically resonant and symbolically meaningful, permanent and transferable to a new generation yet carrying scope for development, pleasurable for all and not for profit, respected, admired by and inclusive of the non-English? Are we ready or willing, at the very least, to call ourselves English not British and feel that identification has some meaning beyond stereotypes? What does ‘England’ mean today? Is it – was it always – an illusion?
Well, yes: although no one would doubt that something like a geographical entity called ‘England’ exists (even though that, of course, was created by man not God), how ‘England’ signifies to the mind when the word is uttered is bound to be illusory in the sense of ‘not real,’ because it is a thing of the imagination and alters between individuals here and abroad. Say it to yourself and see what comes to mind. For England to mean something and not just ‘not America’ or ‘not France’ or ‘no foreigners’ or not whatever – even though it is precisely difference that we are getting at here: spirited yet cordial and civil independence – it is necessary to conjure a past of England that has some continuity today. This is not an academic or ‘cultural’ exercise, carried out to develop a career or to fill up the weekend. It is an act of daily pleasure, partly to do with taking in whatever buildings, weather, poetry, edgelands, dance, people, reservoirs, streets, music, beaches, suburbs, paintings, woodlands are available, and deciding what they mean here and now in England. It is an exercise of the imagination.
The tondo or circular format for painting speaks directly towards certain cyclical ideas that have been a feature of life in England (and elsewhere in a different garb – the word derives from Italian) as long as historical memory. The most obvious is the cycle of the year, and the importance of regular rituals and festivals that once punctuated them. These helped people under often difficult conditions to alleviate austerity – the arrival of Christmas in the bleak midwinter being the obvious one, decked with holly, ivy, and rosemary to compensate for the lack of greenery – and rationalize and sustain passage through the seasons. The form is reflected directly in the events themselves such as the dance around the Maypole and in circles of stones and ceremonial and occultist circles.
Dominic Shepherd’s use of the tondo for his painting The Well seems directly inspired by such symbolism, but it receives an extra spin of the wheel by means of its multiple references to the English past (the so-called ‘well of history’). These are looked down and back upon like liquefied, ungraspable events, here, though in evoking the incomplete past in the mind’s eye, notice that we are also looking in upon ourselves. Shepherd’s remark on history in The Well seems to be that it is analogous to the activity of the seer or medium seeking the future by making sense of the initially indistinct figures in a crystal ball. We divine the future by plumbing our own memories, biographical and historical; we look into the past by looking into ourselves and vice versa so that past and present, personal and collective, up or down (the tondo having neither) cease to be distinct. The circular form of The Well and the fluid and watery rendering of its paint also recall the connected activity of divination through reading tealeaves or coffee grounds.
Additionally, the tondo calls up a temporality that is not linearly progressivist, as has been the norm in the West from Renaissance humanism through to Enlightenment optimism and nineteenth century positivism, to subsequent theological, philosophical, and economic systems, scientific theories, and political positions that insist upon a history of the advancement of civilization as a backdrop and justification for aspiratory, accumulative, utilitarian ends. Rather, the chronology that sections temporality into a past, present, and future is challenged by utopian ideas, which seek instead a Golden Age, Arcadia, or pastoral that exists through cyclical time. Working to overlap and interleave individuals, places, and events supposedly temporally distant, cyclical time aims at ‘creating connections to the past, establishing familial and locational ties,’ in Shepherd’s words.
His rejection of materialist progressivism and embrace of cyclical time and ritual gives onto an iconography of people involved in seasonal chores and bucolic undertakings in Shepherd’s paintings: ‘chopping wood, harvesting, riding horses, burning effigies, hanging out at festivals’ as he says. Beyond this, the collapse of linear time that brought about paintings like The Family allows encounters between Guy Fawkes and the Incredible String Band, Romantic poets and Morris Dancers, witches and hippies, William Blake and Pearly Kings and Queens, the New Model Army and the radical movements of the sixties, and, well, Levellers and the Levellers, at a metaphorical banquet or feast; or perhaps, better, a festival, in which the first and last of England meet in the imagination – where Shepherd himself meets his own predecessors Blake and Richard Dadd – though who is first and who last is impossible to say, depending always on the next spin of the tireless tondo.
5 November 2012