Mark Moore Gallery is pleased to present “New Paintings (Stroll On),” the gallery’s seventh major solo show from Las Vegas painter, Tim Bavington. Based on the 1966 Yardbird’s song “Stroll On, “ this new body of work continues the artist’s investigation into transforming musical scores into unique visual compositions.
Drawn to the vibrant palette of his neon-lit hometown, Bavington is a master of richly saturated color and visceral execution. Utilizing pop and rock music as his source material, Bavington creates rhythmic visual systems by assigning colors to the musical arrangements. Guitar riffs become mathematically proportioned bars of paint, varying in widths and colors to represent audible shifts and durations. The result is a visual psychedelic mood ballad with colors undulating in atmospheric swells, at once evoking Bridget Riley and David Bowie. In a 2010 Los Angeles Times article, art critic David Pagel wrote, “Like pop songs, Bavingon’s abstractions waste no time in getting your attention. And like symphonies, they unfold slowly, with shifting tempos that lure memories into moment, filling it with infinite richness.” In his new body of work, the shimmering optical planes swirl dizzyingly while “I’m strollin’ on, gonna make you see me” is called to mind.
Tim Bavington (born 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO) and The Museum of Modern Art (NY).
Concurrently in Gallery Two, is “Amities Fly,” the gallery’s second solo show from Los Angeles painter, Joshua Dildine. Merging found autobiographical photographs with viciously gestural painting, Dildine’s works confronts conventional notions of nostalgia and representation – as well as painting itself.
Dildine’s paintings typically begin with a photograph from his childhood. Seeking to make this image universal, the photograph is printed on canvas and painted over—often until the original image is completely obscured, or nearly unrecognizable. The result is a dynamic abstraction, with hints of ‘80s familial iconography. His visceral movements and accelerated brushstroke are loaded with sensual energy, harkening to the Ab-Ex days of pure delight and mystery in paint’s materiality. By placing these gestures on top of faded, kitschy, (and sometimes cloying) memorabilia. The end result is a fixation shared by society at large: the contemplation of past events and relationships. Dildine mines these memories for the underlying traits that forge our shared humanity: the humor found in the compromising, the endearment found in the aggravating, or the conflict found in the absent. His painterly swaths are as instinctive as the family photos they conceal; his vivid palette alludes to the glaring absurdity of our incessant self-analysis and examination of the past. In his most recent body of work, Dildine embellishes elements or patterns within the original image in order to create a farcical confrontation with the past – a perspective that is both critical and celebratory. Through this carefully disjointed lens, Dildine creates experiences that are at once present and bygone as he whimsically harnesses the nature of our being.
Dildine (b. 1984, CA), received his MFA from Claremont Graduate University (CA). He has been featured in group exhibitions in Oakland, Los Angeles, San Diego, and Murfreesboro, as well as the Frederick Weisman Museum of Fine Art (CA). His work is included in the public collection of the Sweeney Art Gallery, University of California Riverside (Riverside, CA). He was also the recipient of the 2010 Claremont Graduate University Award. The artist lives and works in Claremont, CA.