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Pip Dickens
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Bilateral Transparency, oil on canvas, 92 cm x 183
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Pip Dickens was born in 1962. She has a Masters in Fine Art from The Slade School of Art (UCL, London) and trained under internationally renowned artists, Tess Jaray, Estelle Thompson, Liz Rideal and David Hepher.
She has been a Visiting Lecturer and, from 2006 - 2008, a part-time lecturer on BA (Hons) Fine Art degree courses. She has promoted visual and performance art whilst Marketing Officer at Leeds Metropolitan University Gallery & Theatre prior to embarking on her MFA. She was a part-time lecturer at Hull College of Art & Design and Visiting Lecturer at Leeds College of Art & Design and University of Lincoln.
She regularly shows her work in London and has also exhibited in San Francisco at The Business Arts Council, at San Francisco Marina and with private gallery Tangent Contemporary Art.
Prior to studying art (1978-1985) she worked extensively across the Middle East from the relatively young age of seventeen until her mid-twenties. She perceives this period of her life as critical to her outlook as an artist.
Her first London solo show was with Cassian De Vere Cole at his Notting Hill gallery apartment in 2000. After the closure of his gallery she had numerous group and solo shows in London including ‘Bittersweet’ at Danielle Arnaud. ‘Oil and Stone’ at East 73rd Gallery and several exhibitions with Mayfair gallery, Sarah M
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Miss Havisham I, oil on canvas, 85.7 cm x 77 cm
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Pip Dickens is a painter concerned with visual perception, in particular, examining and challenging theories and methodologies of light and movement within the second dimension.
Concepts of illusion and double meaning are recurring themes - The notion that we may receive two contrasting visual (or intellectual) responses to a single stimulant.
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Crazy Jane, oil on canvas, 122 cm x 122 cm
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Honey Buzz Bee, oil on canvas, 152.5 cm x 152.5 cm
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Hikari To Kage (Light & Shadow, oil on canvas, 152
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She is interested in playing with ideas of extremes and visual confusion - a kind of "terrible beauty".
"Whatever the source material or research devices I use: film, literature, photography, computer-generated imagery, stencils or objects, the work, ultimately, resolves itself within the physical manipulation of painting and drawing mediums - facture by hand is very important."
Her painting methodology is determined by the subject matter and often juxtaposes conventional painting techniques with innovative methods to create unusual surfaces, layers and textures. Depth and surface contrasts are particularly important in her work.
Her work draws upon many sources from natural phenomena to the darker elements of phantasmagoria, from opacity to transparency, from rhythms within music to pattern structures in nature, from cinematic devices to literary sources.
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Although common themes connect individual investigations, she dispels a singular stylistic approach in preference for innovating and testing new methodologies as a direct response to the subject matter:
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Oki Nami (Ocean Wave), oil on canvas, 122 cm x 122
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Subjects investigated range from propaganda to film and cinematic devices. Characters in literature to concepts of political transparency. Latterly she has begun to draw upon her long term interest in Japanese art, craft and literature. She is currently working toward a solo exhibition of these works at Cartwright Hall Art Gallery, Bradford, She has recently begun a collaboration with sound artist, Monty Adkins. Together they hope to obtain a research platform in Japan to produce sound and visual works that respond to aspects of Japanese culture.
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