D R E A M L A N D I A
Thursday 16th July 6 - 9pm
Saturday 18th July 12 - 4pm
July 17th, 24th, 25th, 31st and August 1st, 2015 or by appointment.
David Price moved his studio to Margate, home of the real Dreamland in 2012.
Fascinated by the ruined remains of a resort that in its heyday had been modelled on a park of the same name in Coney Island USA, he began to draw from the infrastructure that remained and to muse upon the park as a metaphor for the degraded, fallen idealism that was once part of the ‘American Dream’.
Parks such as Dreamland, in both the USA and here in the UK once symbolised the hopes of a generation who invested their dreams in the promises of a bright Modern future in which we might all enjoy the frivolous rewards of labour and democracy.
In our current social and political climate where opportunity for betterment and achievement is increasing obstructed to those not born to them and were, by circumstances of birth, the social class is engrained more deeply into our collective consciousness - the dream of a democratic, meritocratic utopia has rusted and crumbled along with the Dreamlands built to symbolise them.
The paintings do not represent the Dreamland of Margate, which is currently enjoying a welcome and longed-for revival, but are instead inspired by an imagined idea of the theme park as an ancient ruin and are an investigation into the human need for such spaces that occupy the collective human imagination as they have always done. Price’s work privileges a choreography of architectural fragments that expose humanity’s complex relations with the built environment and renders quiet, intimate, beatific scenes with apocalyptic significance.
Price was a student at the RCA studying Printmaking between 2006 and 2009. After presenting at New Contemporaries in his last year he quickly returned to his primary practice of painting, though he still teaches Printing at Bournemouth University of the Arts. The legacy of that experience is still very much in evidence in his painting.
When a print is made, the colours are laid down separately, so that more colex tones and hues are built up over time. This practice, a consequence of necessity in many traditional print techniques, has been adapted into Price’s painting process. Each colour has been painted separately, and so that each is clear and bright, no mixing has taken place between the tube and the painting surface
In association with Art First, London