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david.sullivan@network.rca.ac.uk



"The feature common to all significant artists and writers in the capitalist world is their inability to come to terms with the social reality that surrounds them. All social systems have had their great apologists in art (side by side with their rebels and accusers): only under capitalism has all art above a certain level of mediocrity always been an art of protest, criticism and revolt."





The problem however is always the same – to discover the complex set of conditions, the emergent phenomena, that make for successful painting - so that an individual work contains its own bounded poetry, its own world, and its own infinity.

The paintings might be read as approaching the strange, or our sense of the beautiful, and sometimes they just emerge from the tragedy of fate… or the politics of survival. 

Different strategies are allowed, from the ambiguous to the oblique.  The register shifts, and the themes can drift. From historical conflict or optimism, to contemporary social, psychological, or moral anxieties, but the works must say something real about our condition of existence and have a connection with lived experience. 

Despite typically working from reproduced images, the real search is for the expressive language of painting which can adequately describe the fractured world of man. 

Ultimately, painting has the necessary conviction if the aesthetic evaluation can determine its truthfulness.