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David Gluck
As a student at the Royal College of Art in the sixties, I was mainly interested in Surrealism. I was particularly fascinated by how images can be juxtaposed, sometimes by random selection and brought together to stimulate the unpredictable. I produced collages, some with hand-drawn elements but in the main I used photographic references to produce many screen-prints, large-scale photo-screen canvases and photographic installations.
In the mid-1970's, for a period, I made drawings from photo-collages of landscape, people and objects. I then made landscape drawings on location and drawings in front of objects in my studio. Eventually, the excitement of representing my experience of the observed world through drawing became my prime concern and formed the basis of my paintings and prints to the present.
I still retain some of my early interest in how I formed images, by building up marks, in such a way that permitted and encouraged innovative image interpretations, recalling Alexander Cozens’ teaching in the 18th century on random blot images.
Over many years I have found that etching, monoprint and watercolour give me the necessary flexibility and stimulation I require to resolve images that evolve through the open-ended use of the process .The subjects of my work are landscape, quite often in Italy and London, still-life and the studio interior, which are all based on a direct visual response before the subject. Quite often I produce the work entirely on the spot, at other times I make sketches and photographs and work on them in the studio. My work is characterised by a spontaneous vigorous response to the commonplace and familiar objects or environments, emphasising a real sense of place, illusionistic space and a feeling of a moment in time.
As a student at the Royal College of Art in the sixties, I was mainly interested in Surrealism. I was particularly fascinated by how images can be juxtaposed, sometimes by random selection and brought together to stimulate the unpredictable. I produced collages, some with hand-drawn elements but in the main I used photographic references to produce many screen-prints, large-scale photo-screen canvases and photographic installations.
In the mid-1970's, for a period, I made drawings from photo-collages of landscape, people and objects. I then made landscape drawings on location and drawings in front of objects in my studio. Eventually, the excitement of representing my experience of the observed world through drawing became my prime concern and formed the basis of my paintings and prints to the present.
I still retain some of my early interest in how I formed images, by building up marks, in such a way that permitted and encouraged innovative image interpretations, recalling Alexander Cozens’ teaching in the 18th century on random blot images.
Over many years I have found that etching, monoprint and watercolour give me the necessary flexibility and stimulation I require to resolve images that evolve through the open-ended use of the process .The subjects of my work are landscape, quite often in Italy and London, still-life and the studio interior, which are all based on a direct visual response before the subject. Quite often I produce the work entirely on the spot, at other times I make sketches and photographs and work on them in the studio. My work is characterised by a spontaneous vigorous response to the commonplace and familiar objects or environments, emphasising a real sense of place, illusionistic space and a feeling of a moment in time.
 February Fruits in the Studio, watercolour, h96cm x w127cm, £2000 |
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 Petrognano, near Lucca, Italy, watercolour, h74cm x w102cm |