Damian Moppett

20 September – 2 November 2013

Damian Moppett / Salute

Catri­ona Jef­fries is pleased to announce a solo exhi­bi­tion by Dami­an Mop­pett com­prised of new work in paint­ing and sculp­ture. Moppett’s con­struc­tion of his own ver­nac­u­lar of influ­ences for over a decade is still present in the work, where Rodin and Mike Kel­ley held place among ama­teur ceram­ics and sub­vert­ed remakes of mod­ernist sculp­ture. How­ev­er, the sig­nif­i­cance of Moppet’s eccen­tric per­son­al and art his­tor­i­cal ref­er­ences found in ear­li­er works has reced­ed to make way for abstract­ed forms in sculp­ture that are beyond the reach of ref­er­ence, while a group­ing of six new paint­ings explore figure/ground rela­tions through a flat­ten­ing of space that main­tains just enough infor­ma­tion to remain rep­re­sen­ta­tion­al.

Numer­ous pho­to­graph­ic images form the basis for Moppett’s paint­ings, one being the image of a can­dle – whose ori­gins lie in one of Moppett’s ear­li­est works (Impure Sys­tems from 1999) – which remains con­stant as a fixed image that can con­tin­u­al­ly func­tion as the begin­ning of a new work. Flat expans­es of red fill in the neg­a­tive space of the com­po­si­tion, the remain­ing forms float dis­en­gaged from their ground.  Despite the artist’s extreme famil­iar­i­ty with every curve and shape of its com­po­si­tion it still holds a gen­er­a­tive capac­i­ty to lead to an unknown or unre­lat­ed ter­ri­to­ry and in this instance, the sub­ject of a large scale paint­ing. Sim­i­lar­ly, the rec­og­niz­able legs from a 2006 work, The Acro­bat, lean into the frame of anoth­er paint­ing, quick­ly and loose­ly exe­cut­ed in black.  A suite of small­er sculp­tures bor­row forms from David Smith, while in a sculp­ture of weld­ed steel and ceram­ic Mop­pett has depart­ed from the wheel-thrown ves­sels of ear­li­er ceram­ic works and loose­ly paint­ed then glazed frag­ments from a R.B. Kitaj paint­ing onto slaps of cut-out ceram­ic forms. Here Kitaj becomes less the sub­ject and more the well from which a dilut­ed, painter­ly image can emerge as a glassy sur­face of glaze.

Dami­an Mop­pett (b. 1969, Cal­gary, Alber­ta) lives and works in Van­cou­ver. He has a forth­com­ing solo exhi­bi­tion at the Simon Fras­er Uni­ver­si­ty Gallery in Jan­u­ary of 2014. Recent solo exhi­bi­tions include Van­cou­ver Art Gallery Off­site, Van­cou­ver (2012); Ren­nie Col­lec­tion at Wing Sang, Van­cou­ver (2011); The Sculptor’s Stu­dio is a Paint­ing, Catri­ona Jef­fries, Van­cou­ver (2010); Tem­ple Gallery, Tyler School of Art, Philadel­phia (2007); Yvon Lam­bert, Paris (2007); Car­leton Uni­ver­si­ty Art Gallery, Ottawa (2006); The Vis­i­ble Work, Con­tem­po­rary Art Gallery, Van­cou­ver (2005). His work has been includ­ed in numer­ous group exhi­bi­tions, includ­ing Builders: Cana­di­an Bien­ni­al 2012, Nation­al Gallery of Cana­da, Ottawa (2012); Not Pho­tographs: Dami­an Mop­pett and Andrea Pin­heiro, Pre­sen­ta­tion House Gallery Satel­lite, Van­cou­ver (2011); Every­thing Every­day, Van­cou­ver Art Gallery (2010); TRIUMPHANT CARROT: The Per­sis­tence of Still Life, Con­tem­po­rary Art Gallery, Van­cou­ver (2010); How Soon is Now, Van­cou­ver Art Gallery (2009); Don Qui­jote, Witte de With, Rot­ter­dam (2006); Appear­ances, Musée d’art con­tem­po­rain de Mon­tréal (2005); Inter­tidal: Van­cou­ver Art and Artists, Muse­um Van Heden­daagse Kun­st Antwer­pen, Antwerp (2005).  Recent mono­graphs on his work include Dami­an Mop­pett, Ren­nie Col­lec­tion, Van­cou­ver (2012); Dami­an Mop­pett: Fall of the Damned, Car­leton Uni­ver­si­ty Art Gallery, Ottawa (2006) and Dami­an Mop­pett: The Vis­i­ble Work, Con­tem­po­rary Art Gallery, Van­cou­ver (2005).

For fur­ther infor­ma­tion or press inquiries please con­tact Catri­ona Jef­fries or Anne Low at +1 604 736 1554.