Dale Frank
12 July 2018
SABCO PEROXIDE
21 January 2016
Dale Frank - Toby Jugs, 2014
4 September 2014
Dale Frank - Nobody’s Sweetie, 2013
8 August 2013
Dale Frank - WACKY DUCK FLUFFY TOM, 2011
9 September 2011
Dale Frank, Ice Age, 2010
11 February 2010
Dale Frank
Some Boring Paintings
26 June 2008
Dale Frank, 2006
2 May 2006
Dale Frank - Modern Art Paintings For Sale
20 May 2004
Dale Frank - Views from the Bruce Highway
19 March 2003
Dale Frank
29 July 2001
SABCO PEROXIDE
21 January 2016
For decades Dale Frank’s practice has been motivated by an experimental approach to painting, his honed manipulations of the medium testing the technical, conceptual and perceptual limits of his materials. Charged concoctions of varnish, lighter fluid and Penetrol on perspex invoke explosive and lustrous images reminiscent of celestial planes and interstellar landscapes. Will Gosling has described how Dale Frank’s “chromatic arrangements are metaphysical universes referring as much to the spirit and to emotions as to physical spaces.”[1] Yet the potency of Frank’s compositions extend beyond the picture plane, his titles extricating volatile fragments of language, before fusing them together to illuminate their absurd ponderance.
While his controlled exploitation of varnish occupied much of the artist’s focus over the last decade, SABCO PEROXIDE highlights Frank’s long-standing exploration of forms of installation, performance and sculpture. Frank describes the gesture of contemporary painting as a “conceptual practice, first by what it is not, and what it opposes.”[2] In this spirit, Frank’s 26th exhibition with Roslyn Oxley9 Gallery investigates the very edge of painting, as explosive oxygenated sculptures of compression foam and eruptive reconfigurations of readymade designer furniture, are positioned alongside paintings that protrude or dissolve, opening onto an almost sculptural, 3-dimensional space. SABCO PEROXIDE is thus an articulation of Frank’s broader conceptual hypotheses, and his ongoing empirical investigations into the potentiality of painting.
[1]Will Gosling, New York, 2013
[2] – Dale Frank, 2014