Alan Ibell’s works subtly cite frescos by painters of the early Renaissance period. The soft and delicately rendered texture of his paintings feel as if they are mixed deep into plaster.
His use of dislocation and non-linear perspective suggest a fragmented narrative, a question of consciousness. Something isn’t quite right. What is real and what is imagined?
This new suite of work considers the canvas itself as a vessel, inextricably tied to a complex play between mimicry and material. Dichotomies of full/empty, fire/water, abundant/sparse and traditional motifs are reworked to rethink, reflect, and subvert.
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