Phillip Allen

Phillip Allen
Light loads 
'Light loads version ' 2020
oil on polystyrene balls affixed to honeycomb board 
151 x 180 cm / 59.4 x 70.9 in  

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Phillip Allen
Deepdrippings "hiking through inner space version"
2020
oil on board
82 x 110 cm / 32.3 x 43.3 in  

Phillip Allen
Deepdrippings "Over-dosing on symbolism version"
2020
oil on board
54 x 63 cm / 21.3 x 24.8 in  

Phillip Allen, Deepdrippings (Distinguished Guest Version), 2018, oil on board, 152 x 122 cm / 59.8 x 48 in   

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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
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Phillip Allen, Blue Stain (One night only version), 2013, oil on canvas, 285 x 225 cm / 112.2 x 88.6 in
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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, Deepdrippings, Kerlin Gallery, 11 February – 25 March 2017

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Phillip Allen, DOLPH Projects, London, September 2016
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Phillip Allen, oxblood, Kerlin Gallery, 7 June – 20 July 2013
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Phillip Allen, New Paintings, Kerlin Gallery, 5 June – 18 July 2009
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Phillip Allen, New Paintings, Kerlin Gallery, 10 September – 8 October 2005
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b. 1967, London.

 

Since graduating from art college in London in the early 1990s, Phillip Allen has pursued a path in painting that has taken him from illusionistic, semi-figurative landscapes, to arriving over the past decade at total abstraction. Consistent throughout the evolution of Allen's practice has been his fascination with the sculptural qualities of paint. This has never been more evident than in his most recent series, Deepdrippings, where the artist has intensively worked and re-worked the paintings, in some cases for several years, to create a deeply layered surface abundant with impasto paint.

 

While previous work has seen Allen play with pictorial tradition, using framing devices to challenge the viewer's perception of space and depth, these new paintings privilege surface over illusion. Shapes and forms buzz and hover as if in mid-air; jostling for our attention, rather than receding into the distance. This new work marks a significant development in Allen’s practice, but as pointed out by the art critic John Yau (Hyperallergic), ‘For all the radical changes that Allen has made … his long preoccupation with paint as matter has become increasingly evident.’

 

Selected solo exhibitions include: DEEPDRIPPINGS, Kerlin Gallery, Dublin, (2017) ; Milton Keynes Gallery, UK, (2006) and Phillip Allen: Recent Paintings, MoMA PS1, New York, USA, (2003). Selected group exhibitions include: The Aerodrome – An exhibition dedicated to the memory of Michael Stanley, Ikon Gallery, Birmingham, UK (2019); Drawing Biennial 2017, The Drawing Room, London, UK (2017): CCA Andratx, Mallorca, Spain, (2012); Made in Britain: Contemporary Art from the British Council Collection 1980–2010, Heritage Museum, Hong Kong, SAR, (2011); Salon of the Vernacular, Nottingham City Gallery, Nottingham, UK, (2011); Kaleidoscopic Revolver, The Total Museum, Seoul, South Korea, (2009); Classified: Contemporary British Art from the Tate Collection, Tate Britain, London, (2009) and the British Art Show, Frieze, London, (2006). Allen graduated from the Royal College of Art, London in 1992.

 

Allen's work is represented in the collections of The Arts Council England, UK; British Council, UK and Tate Museum, UK.

 

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Phillip Allen, Painting Smoking Eating

Lewisham Arthouse, London

“There is a delicate form of the empirical which identifies itself so intimately with its object that it thereby becomes a theory”.

Philip Allen, Jake Clark, Nelson Diplexcito, Freya Guest, Dave Leeson, Tom Rapsey

Exhibition Dates: 8 -17 May 2014

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Phillip Allen, AFM Collection

CCA Andratx, Mallorca, Spain

04 May 2012 - 30 September 2012

The CCA Andratx is very pleased to host the Special Edition of the Art Foundation Mallorca Collection.

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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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