|Medium||Colouring pencil on paper|
|Dimensions||29.6 x 21.1 cm|
|Bidding Open||Thu 16 April, 2015 at 10:00am|
|Bidding Ended||Tue 26 March, 2019 at 9:30pm|
David Austen (b.1960, Harlow) lives and works in London. Graduated from the Royal College of Art (1985); and Maidstone College (1981). Awards include the Bryan Robertson Award (2011); and the Stanley Picker Fellowship at Kingston University (2008-09). Select solo exhibitions include Underworld David Austen, Dundee Contemporary Arts, Dundee (2019); The Light That Fell Upon Us Burned, Ingleby Gallery at Art Basel Miami Beach, Miami (2016); Black Heart, MACC, Basilicata (2015); The Gorgon’s Dream at The Burns Monument, Ingleby Gallery at the Edinburgh International Film Festival, Edinburgh, and Rob Tufnell, London (2012); Papillon, Anthony Reynolds Gallery, London (2011); Smoke Town, Edinburgh billboard, Ingleby Gallery, Edinburgh (2011); End of Love, Modern Art Gallery Oxford, Oxford (2010); Man Smoking, Schiavo Mazzonis Gallery, Rome (2009); My love, I have been digging up my own bones in the garden again, Ingleby Gallery, Edinburgh (2009); and The End of Love, Stanley Picker Gallery, Kingston University, Kingston-Upon-Thames (2009). Select group exhibitions include Cosmic Connections, TOTAH, New York (2016); The Nakeds, Drawing Room, London (2014); Slow Learner, Timothy Taylor Gallery, London (2014); Just what is it that makes today’s homes so different, so appealing?, New Art Centre, Salisbury (2013); Language Games. An Introduction to The Art of Our Times, Fundación Helga de Alvear, Cáceres (2013); With An Apple I Will Astonish, Large Glass, London (2012); Artists for Kettle’s Yard, Kettle’s Yard, Cambridge (2011); and Watercolour, Tate Britain, London (2011).
" I am known for the multifaceted nature of my work. It ranges from abstraction to figurative and incorporates painting, photography, film, hanging sculpture, watercolour and gouache. Each medium has its own peculiar logic and makes me behave in a certain way in its making. Making drawings with colouring pencils brings out my obsessive side. I like, in fact I have to, fill in the entire page with
coloured pencil marks until completely covered. This drawing is called Balancing Act. In it we see a naked woman with arms and legs outstretched standing on the feet of an upside down similarly exposed man. We don’t see the top of her head and his head and arms but presume he is doing a handstand; this also lends the feeling that life goes on outside the page. They are surrounded by black, a dark nocturnal world. I collect circus photographs of high wire acrobats and trapeze artists from the thirties and forties. I find these images of trust and gravity very moving; the spot lit figures against the blackness of the canvas roof often find their way into my thoughts and drawings. I was also reading at this time, Nightmare Alley, a delicious ‘Carny’ novel written in 1946 by
William Lindsay Gresham about a trickster couple on the make." David Austen, April 2015