| BORN: | - | - |
| UK, 1977 | - | - |
| - | - | - |
| LIVES/WORKS: | - | - |
| Berlin, Germany | - | - |
| - | - | - |
| EDUCATION: | - | - |
| 1996-1999 | BA (Hons) | Loughborough University |
| 1999-2003 | MA | Royal Academy of Art |
| - | - | - |
| SOLO EXHIBITIONS: | - | - |
| 2006 | Unnatural Selection | Sartorial Art, London |
| 2005 | The Sub Also RIses | Rockwell. London |
| - | - | - |
| SELECTED GROUP EXHIBITIONS: | ||
| 2008 | Icons (curated by Hugh Mendes) | Primo Alonso, London |
| 2008 | New London School | Mark Moore Galllery, LA |
| 2008 | New London School | Changing Role Gallery, Rome/Naples, Italy |
| 2007 | The Future Can Wait | Ellis Rumley Projects, Atlantis Gallery, London |
| 2006 | Icons | Chungking Project, Los Angeles |
| 2006 | Half Life | Fieldgate Gallery, London |
| 2006 | New Figurative Realism | CHARLIE SMITH london, London |
| 2006 | People Like Us | No More Grey, London |
| 2005 | Maji Jabii!! Fucking Brilliant!! | Tokyo Wondersite, Tokyo |
| 2005 | Carter Presents | Carter Presents, London |
| 2005 | New London Kicks | Wooster Projects, New York |
| 2005 | Faux Realism | Rockwell & Royal Academy Pumphouse |
| 2005 | Darkest Hour | Leisure Club Mogadishni, Copenhagen |
| - | - | - |
| BIBLIOGRAPHY: | - | |
| 2006 | “Rockwell Space and Artists”, Modern Painters | |
| 2005 (May) | Review, Time Out Magazine | |
| 2005 (Mar) | Feature, Miser and Now Magazine, Keith Talent Gallery, London | |
| 2004 | “Liberal Intervention: The Empires New Clothes?”, Allegra Stratton & James Lindon (eds), Aitchess Press | |
| 2003 (Jul/Aug) | “Friends in High Places”, Art Review | |
| - | - | - |
| COLLECTIONS: | - | - |
| Jean Pigozzi, Geneva | ||
| David Roberts, London | ||
| Dr Rainer Schiweck, Munich | ||
| Howard Tullman, Chicago | ||
| Private collections in the United Kingdom | ||
| - | - | |
| ARTIST STATEMENT: | - | |
|
'Gavin Nolan's recent paintings are perverse and
contradictory. Disparate elements combine resolutely to form freakish portraits. The various characters develop personalities and traits. Seemingly demanding of their creator ("make me look beautiful") to the point that Nolan seems bizarrely to have gone easy on his nightmarish subjects. As in so many portraits of course, true personality cannot help but caustically seep through. His dialogue is appropriately diverse. The delicate brushwork is at odds with brutally applied splashes, swathes and scumbles. Despite this contradictory language, the rigorous glazing and twisted compositional tricks combine to harmonious effect. The paintings are discordant, disquieting and beautiful.' (Reece Jones) |
||