below: statement from Jarvis Hall and MD regarding the exhibition “traffic” April 21st to June 3rd, …
Jarvis Hall Gallery is pleased to present a solo exhibition with Calgary artist, Mark Dicey. We hope you will join us on Friday, April 21 between 5-8 PM for the opening reception. This exhibition will feature a variety of new paintings which Mark has been vigorously creating over the past year.
Studio work, study and general consciousness of abstract painting are on going and critical to Mark Dicey’s practice. The reactionary relationship that take place in the painting process are paramount to the outcome of each of his pieces. His creative process is in a constant state of movement with each brushstroke, stain and drip relating to the next mark and final touch.
A Traffic of Ideas
“I use the word traffic as a metaphor for the way I work and the way I think. The way a painting I am working on gets built. It definitely is physical and cerebral in a sorting and decision making process that takes place to allow the “traffic” to flow. I bring everything I know (my own history, knowledge, abilities) to the studio and pursue the making of a painting. There is an intended outcome, but there is also unpredictability, chance and the unknown that I welcome to achieve new discoveries. I am always striving for the most open thinking and honesty.” – Mark Dicey, 2017
Mark Dicey – Artist Statement – 2017
Mark Dicey is a painter. His field of interest is in abstraction/nonrepresentational work. Studio work, reading and general consciousness of this chosen discipline (painting history and abstraction in particular) are on going and critical to his practice.
The everyday world is absorbed and brought into the making and thinking process: colours, shapes, textures and structural relationships.
For Dicey, the reactionary relationship that takes place in the painting process is twofold:
1. the day to day observances (memory) are filtered, reconfigured and applied (consciously/unconsciously);
2. the interaction with what is taking place with the medium, assessing and pursuing what is evolving – observing, guiding, controlling, manipulating, questioning, confirming.
For Dicey, the work he makes and the creative process itself are states of flux and relational conversation.
Knowledge of important painters who came before such as Hans Hoffman, Joan Mitchell, Helen Frankenthaller, Cy Twombly, Jack Bush and Marion Nicoll as well as living contemporary artists such as Mary Heilmann and Brice Marden (to only name a few) is of utmost importance to Dicey’s ongoing investigation, questioning and development.