Phillip Allen

Phillip Allen 
Deepdrippings (Solar quiet version) 2016
oil on board
153 x 122 cm / 60.2 x 48 in
Phillip Allen 
Chin music (soft octopus version) 2016
oil on board
152 x 122 cm / 59.8 x 48 in
Phillip Allen 
Deepdrippings (ghetto anglaise version) 2016
oil on board
152 x 122 cm / 59.8 x 48 in
Phillip Allen 
Ghetto anglaise 2016
oil on board
61 x 55 cm / 24 x 21.7 in
Phillip Allen 
Deepdrippings (Curry Nighthawk Version) 2016 
oil on board 
153 x 122 cm / 60.2 x 48 in   
Phillip Allen 
Tonic for Choice (Biennale Version)  2014
oil on board
183 x 183 cm / 72 x 72 in
Phillip Allen
Delusions provide solutions (The right version)
2013
oil on canvas
285 x 225 cm / 112.2 x 88.6 in
Additional Views
Phillip Allen
Blue Stain (One night only version)
2013
oil on canvas
285 x 225 cm / 112.2 x 88.6 in
Additional Views
Phillip Allen 
I blame it on Kosuth 2012
oil on canvas
182 x 152 cm / 71.7 x 59.8 in
Phillip Allen 
slives (Improving the quality of relations in the workplace version)
2007
oil on board
213 x 305 cm / 83.9 x 120.1 in
Phillip Allen 
Tifosi
2005
oil on board
46 x 56 cm  / 18.1 x 22 in

 

Phillip Allen 
Deep North (Academy Version)
2003
oil on board
56 x 72 cm / 22 x 28.3 in
Phillip Allen
Dolph, London
September 2016
Additional Views
Phillip Allen
oxblood
Kerlin Gallery
7th June - 20th July 2013
Additional Views
Phillip Allen
New Paintings
Kerlin Gallery
5th June - 18th July 2009
Additional Views
Phillip Allen
New Paintings
Kerlin Gallery
10 September - 8 October 2005
Additional Views
b. 1967, London.
 
In many of the paintings made by Phillip Allen over the last decade, a vivid and ebullient graphic clarity contends with more convulsive painterly features. His paintings have often presented brightly coloured, interconnecting volumes or repeating, distending patterns within more mutedly toned, wide-open zones. Bordering these spaces at the upper and lower limits of the canvas, Allen’s trick has been to lay down richly abundant lines of curling impasto paint: glorious blooms and bursts of multifarious colour that thickly combine to frame and deepen the visual drama at the centre of the picture. But what we see is never quite clear, never entirely ‘contained’. The graphic elements often offer hinting suggestions of buildings or other tall structures — they sometimes resemble wonky or wildly implausible monuments — but the precarious, piled-up shapes also at times allude to letters or numbers, as if a kind of coded communication were being proposed.  Invariably, Allen shows us something being assembled — there is recurrent piecing-together of basic elements — but the results depart thrillingly from rational organisation, towards a more dream-like, open-ended and associative way of imagining a world.
 
Lately, his paintings have expanded in scale, and they have begun to present still more hazy and ambiguous arrangements.  As ever, there is a concentration on accumulations of fundamental forms — often, now, the geometric shapes that provide the historical basis of painterly composition — but the surfaces are now a storm of agitated scribbles and incessant drips. Each ‘composition’ in these powerful works is in a state of decomposition. If as one title (from 2012) suggests, ‘Delusions provide solutions’ Allen’s recent works also showing him taking on the painterly challenge of scrupulous ‘dissolution’.
 
Phillip Allen graduated from the Royal College of Art, London in 1992. Recent solo exhibitions include Dolph Projects, London (2016); The Approach, London (2014, 2011 & 2008); Kerlin Gallery, Dublin (2013, 2009 & 2005); Bernier/Eliades Gallery, Athens (2010); Xavier Hufkens, Brussels (2007, 2005); Milton Keynes Gallery, UK (2006); and PS1 Contemporary Art Center, New York (2003). International group shows include Galerie Dukan, Paris (2015); CCA Andratx, Mallorca (2012); Hong Kong Heritage Museum, Hong Kong SAR (2011); Nottingham City Gallery, UK (both 2011); Fabio Tiboni arte Contemporanea, Bologna, Italy; The City Gallery, Leicester, UK and Tate Britain, London (all 2009); Mitchell, Innes & Nash Gallery, New York (2007) and the British Art Show 6 at BALTIC (2005/06).
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The Irish Times

‘Deepdrippings’: Painterly explorations that are both object and surface

21 February 2017

Phillip Allen’s Deepdrippings is an exceptional exhibition: focused, intelligent, lively and conceptually rich. … [It] consolidates his position as one of the sharpest, liveliest painters working today.

— Aidan Dunne

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The Sunday Independent

What Lies Beneath: Deepdrippings (International Version) by Phillip Allen

6 March 2017

Allen's recent work, Deepdrippings, now showing at the Kerlin Gallery, until March 25, displays great control and confidence. The temptation is to touch; the eye ranges and roams over the singing, seductive image with a delicious pleasure, over the brushwork and pure, exuberant squiggles as if straight from the tube: "A brush is always used somewhere in the making. I do apply paint directly from the tube but it always has some kind of encounter with a brush. I use various size rigger brushes which are for water colours. I like them when they get splayed and ungainly, this is then perfect for me," Allen says. He works on a few paintings at a time. What about the ones that don't work out? Do you abandon, rework? "My paintings are continually not working out. I have a stack of them in my studio and every now and then I do a purge and throw loads out." And that title? "Deepdrippings was initially an auto correct on my phone that went wrong but I liked the associations."

— Niall MacMonagle

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Art in America

Phillip Allen, The Approach, London

22 July 2011

Allen’s signature move is to bracket his paintings top and bottom with thickly daubed impasto, bordering their receding pictorial spaces with robust stripes of emphatically physical oil paint. In the gallery, it was immediately apparent how in these new paintings Allen subjects this device to different sets of mutations.

— Lee Triming

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frieze

Mind’s Eye: The animism and imagination of Phillip Allen’s painterly abstractions

Issue 123 May 2009

What if his house was on fire? He’d save his drawings. What if someone admired his art and invited him to make a book? Phillip Allen – Drawings, a festival of felt-tip sketches, was published by Other Criteria in 2007. Drawing, the activity at the core of the London-based painter’s work, equals potential. Open that book somewhere near the middle and locate a monstrous, fluted architectural form, a giant pipe organ spliced with a windowless church: it will reappear, a little more streamlined and pinkish, a little more like a three-dimensional spectrogram but still obscurely grand and fearful, a year later in the oil-on-board Volume Champion (2008). On other pages a dark, rearing cyclonic form appears, composed of interlocking club-like shapes resembling Philip Guston boots or kicked-over P’s. (Since 2001’s 33 Allen has sporadically made paintings featuring his own current age; you wouldn’t put forename-initialising past him.) We’ll see that motif again, more complexly essayed and with airborne golden echoes of the central form flanking it, in the painting Postopia (2008).

— Martin Herbert

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Artforum

Critics' Picks: Phillip Allen

December 2008

Phillip Allen is known for combining landscape with Art Deco–inspired abstraction in his paintings. Whirling pinwheels, loopy arcs, blobs of paint, and Pop polka dots constitute a whimsical vocabulary that he repeats and reinterprets. For his third exhibition at this gallery, these motifs are streamlined into oil paintings on board, in which a central abstract form is rendered matte and flat and placed between robust impasto borders, as well as into a series of small paintings wherein blobs of built-up paint are placed around a found or incorporated image.

— Courtney J. Martin

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frieze

Phillip Allen, The Approach, London

5 May 2004

Phillip  Allen’s  work  is  abstract  painting  of  a  dense  and sociable  kind.  Its  vast  spaces  are  filled  with  teeming  hordes  of small  forms,  coloured  blobs  that  congregate  along  axes  or radiate  from  distant  nodes. 

— Marcus  Verhagen
 

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