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Artist Exhibitions:
SELECTED ONE PERSON
EXHIBITIONS
2007
Lighthouse, Poole Center for
the Arts, Poole
Billingham Art Gallery,
Billingham
2006
St. Jakobikirche, Stralsund,
Germany
2005
St. Jurgen Starkow
Mecklenburg, Vorpommem,
Germany
2003
Sutton House, London, UK
2002
Pilgrim Gallery, London, UK
2001
UNESCO Gallery, Amman, Jordan
The British Council, Amman,
Jordan
St Marys ...
Further Information
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Artist Reviews:
Coming Soon!
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Collections:
Aberdeen Art
Gallery, Scotland
Barclays
Bank PLC, England
Duncan of
Jordanstone College of Art,
Dundee, Scotland
The
Hunterian Museum, University
of Glasgow, Scotland
The Scottish
Arts Council, Scotland
The
Bemis Foundation, Omaha,
U.S.A.
The
University of Nebraska, Omaha,
U.S.A.
Nogradi Torteneti Muzeum,
Salgotarjan, Hungary
Moscow Union...
Further Information
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Commissions:
Coming Soon!
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Artist Statement for William Dick
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I have always drawn on ancient symbols from my own Scottish background and I feel the similarity of these symbols, circles, concentric circles, spirals etc, all common in Pictish/Celtic Art convey something of the magic and religious function that Art once held in this culture.
The works illustrated use such sources as, Russian Icons, Celtic and Pictish symbols, African and Aboriginal Art, Abyssinian Warrior Shields, substance of land-geological form, rocks and lichen, peat and mosses, dust and sand, mud, local architecture and effects of the weather. A wide variety of paints, wax and bitumen is employed to create surface textures of varying density and opacity. Each painting's surface is built up in many layers, going through many transformations before completion. Increasingly the original image is submerged and a tension is created between surface and depth.
Research into the Iconography and Iconology attached to pictorial representations where the Christian and pagan mythological figures used are almost beyond interpretation is involved. Past and present work includes themes and interests showing the assimilation of Christian and pagan rites and beliefs, in the 'Christianised' images of standing stones the construction of churches upon prehistoric sites and the adaptation of pagan rituals. These paintings transcend the illustrative, using drawing as a symbolic way of making marks, thereby enabling me to encapture a sense of monument with certain ambiguities between the physical object and the implied atmospheric depths. Although the symbolism is evident from viewing at a distance, one must venture closer to appreciate the subtleties of colour and paint handling, where the eye is led over the surface by the different variations of paint and application. This reinforces one of the central themes in my work, the tension between the physical reality of the painted surface with the ability of the surface to imply imaginary space and objects. Because these paintings have a surface so intensely worked by various brushing and individual strokes, drawn lines, colour, paint texture, density and transparency the works offer themselves as physical objects.
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