n the back of winning the inaugural MOTH ART PRIZE in 2016 and shortlisted for the YOUNG MASTERS PRIZE earlier this year, David Piddock presents a new collection of characteristically semi-fictional urban landscapes.

London settings are used as the basis for improvisation where past meets present and fact meets fiction. Settings range from Barrier Park, the landscaped gardens alongside the Thames Barrier to station platforms and riverscapes. Also art and sculpture, plundered from the great collections of London and elsewhere, appear in unexpected places. His work continues to look for innovation in established painting traditions.

David Piddock - Unseen Work

HERRICK GALLERY
93 Piccadilly, London W1J 7NQ
22 November 2017, 2pm to 6pm
23-24 November 2017, 11am to 6pm
25 November 2017, 11am to 3pm

ADAM GALLERY
13 John Street, Bath BA12JL

27 November - 9 December 2017

CONTACT

THE ARTIST
Mob 07904 034345

ADAM GALLERY
Tel 01255 480406

CYNTHIA CORBETT GALLERY
Tel 020 8947 6782
Mob 07939 085 076

MUSE GALLERY
Mob 07745 938472

 

It is now possible to view all works in public collections online. View David Piddock's work at the Museum of London HERE.

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SIGHTS UNSEEN

Notting Hill's Muse Gallery offered the opportunity to see a remarkable group of paintings in London for the first time. 'Unseen', until then, because they were excluded from an exhibition hosted by a City institution, in 2015, in a bizarre act of censorship that was later reported in Private Eye Magazine.

'Unseen', also, in the sense that they are a semi-fictional take on London. Imagery is often plundered from the past to inform the present. So anything from a small terracotta maquette to a monumental Canova sculpture might materialise in unexpected places like London's Embankment or the riverside adjacent to the City. There are rarely specific stories in these paintings however, so the spectator is left to wonder at their enigmatic quality, curious juxtapositions, and engaging blend of fact and fiction. Innovative spatially as well, their perspective varies from conventional to 'mirror image'. Often bathed in strong light and deep shadow, they always have an evocative quality and vary in mood from playful to unsettling.

N.B. There was a tentative apology and an admission of being 'over-sensitive' from Lloyd's Register. Their decisions remain puzzling but the artist does not wish to discourage the company from using their prime City site for public art displays and offering an otherwise good deal to the artists they choose.