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Kerlin Gallery is pleased to announce
Deep Waiting
an exhibition of new painting by Phillip Allen.

Phillip Allen - Deep Waiting - Exhibitions - Kerlin Gallery

In his latest body of work, Phillip Allen’s fifth solo presentation with the gallery marks a vibrant evolution in the artist’s long-standing exploration of abstraction, materiality and the painted edge.

Described by art critic John Yau as “one of the great painters of his generation”, Phillip Allen  has refused to settle into any one mode or style, choosing instead to continually push the possibilities of the picture plane resulting in paintings that are sculptural, optical and joyously excessive. Dense accretions of acrylic and oil paint form thick, encrusted borders that frame finely worked interior fields. Within these interiors, rhythmic geometries, spiralling motifs and kaleidoscopic colour sequences unfold with a sense of buoyant improvisation. 

'Deep Waiting' reflects Allen’s ongoing interest in the mechanics of looking. Repetition, mirroring and near-symmetry lure the viewer into optical loops, while shifting palettes—moving from acidic neons to cool mineral tones—create a sense of movement that is almost musical. Throughout, Allen balances exuberance with control, humour with discipline, ornament with structure.

Phillip Allen’s new paintings reaffirm his status as one of the most distinctive voices in contemporary abstraction, continually reimagining what painting can be: an object, an image, or a cosmic experience.

Phillip Allen - Deep Waiting - Exhibitions - Kerlin Gallery

"Throughout the studio, drawings accumulate: taped to the walls, piled on tables, or stored neatly in display folders. Each one has been examined and reconsidered repeatedly, selected and then rejected, only to be reconsidered again. This ongoing sifting determines which drawings - or combinations of drawings - might serve as viable starting points for paintings. That moment of choosing functions as the inertia of the painting process, the point from which everything else begins to move.

Translating a drawing into a painting first needs a kind of literal friction. The wooden panels are coated in marble dust and fixed, creating a coarse, uncooperative surface. This resistance is intentional; it forces the first marks to contend with the ground, making the shift from drawing to painting a physical negotiation rather than a simple transcription."

Phillip Allen - Deep Waiting - Exhibitions - Kerlin Gallery

"There is also the question of waste - by-products that accumulate as part of the working method. The barnacle-like crust that forms along the outer edges of the painting is not incidental but necessary. It marks the boundary of the process, a residue that frames the image while reminding me of the material history embedded within it. I think of this build-up not as discard but as evidence of the painting’s making.

In the end, the work depends on allowing physical material and visual sign to coexist. Their friction and overlap mirror a dual process: the way one simultaneously hears the sound of a voice and understands the meaning of what is being said. The paintings operate in that same space - between sensation and interpretation, surface and image".
 

- Phillip Allen

Selected Works

Selected Works Thumbnails
Phillip Allen

Object Wants (hard repition version), 2025

oil on board

150 x 130 cm / 59.1 x 51.2 in   

Phillip Allen

Object Wants (hard repition version), 2025

oil on board

150 x 130 cm / 59.1 x 51.2 in   

Inquire
Phillip Allen

are we guests (stubbed motiff I version), 2025

oil on board

135 x 125 cm / 53.1 x 49.2 in   

Phillip Allen

are we guests (stubbed motiff I version), 2025

oil on board

135 x 125 cm / 53.1 x 49.2 in   

Inquire
Phillip Allen

dry chord, wet edge (hard repetition version), 2025

oil on board

80 x 70 cm / 31.5 x 27.6 in   

Phillip Allen

dry chord, wet edge (hard repetition version), 2025

oil on board

80 x 70 cm / 31.5 x 27.6 in   

Inquire
Phillip Allen

dry chord wet edge (solar guest version), 2025

oil on board

55 x 40 cm / 21.7 x 15.7 in   

Phillip Allen

dry chord wet edge (solar guest version), 2025

oil on board

55 x 40 cm / 21.7 x 15.7 in   

Inquire
Phillip Allen

Objects wants (wet edge gambit), 2025

oil on board

50 x 40 cm / 19.7 x 15.7 in   

Phillip Allen

Objects wants (wet edge gambit), 2025

oil on board

50 x 40 cm / 19.7 x 15.7 in   

Inquire
Phillip Allen

Flat Space Thinking (Addictive shape formation), 2025

oil on board

135 x 125 cm / 53.1 x 49.2 in

Phillip Allen

Flat Space Thinking (Addictive shape formation), 2025

oil on board

135 x 125 cm / 53.1 x 49.2 in

Inquire
Phillip Allen

low memory (wet edge version), 2025

oil on board

50 x 60 cm / 19.7 x 23.6 in   

 

Phillip Allen

low memory (wet edge version), 2025

oil on board

50 x 60 cm / 19.7 x 23.6 in   

 

Inquire
Phillip Allen

compulsion loops (wet edge version), 2025

oil on board

55 x 40 cm / 21.7 x 15.7 in   

Phillip Allen

compulsion loops (wet edge version), 2025

oil on board

55 x 40 cm / 21.7 x 15.7 in   

Inquire
Phillip Allen

ruin for sleepers (Unkind endgame), 2025

oil on board

61 x 51 cm / 24 x 20.1 in   

Phillip Allen

ruin for sleepers (Unkind endgame), 2025

oil on board

61 x 51 cm / 24 x 20.1 in   

Inquire
Phillip Allen

low memory (rough edge variation), 2025

oil on board

60 x 50 cm / 23.6 x 19.7 in   

Phillip Allen

low memory (rough edge variation), 2025

oil on board

60 x 50 cm / 23.6 x 19.7 in   

Inquire
Phillip Allen

Object Wants (hard repition version), 2025

oil on board

150 x 130 cm / 59.1 x 51.2 in   

Phillip Allen

Object Wants (hard repition version), 2025

oil on board

150 x 130 cm / 59.1 x 51.2 in   

Phillip Allen

are we guests (stubbed motiff I version), 2025

oil on board

135 x 125 cm / 53.1 x 49.2 in   

Phillip Allen

are we guests (stubbed motiff I version), 2025

oil on board

135 x 125 cm / 53.1 x 49.2 in   

Phillip Allen

dry chord, wet edge (hard repetition version), 2025

oil on board

80 x 70 cm / 31.5 x 27.6 in   

Phillip Allen

dry chord, wet edge (hard repetition version), 2025

oil on board

80 x 70 cm / 31.5 x 27.6 in   

Phillip Allen

dry chord wet edge (solar guest version), 2025

oil on board

55 x 40 cm / 21.7 x 15.7 in   

Phillip Allen

dry chord wet edge (solar guest version), 2025

oil on board

55 x 40 cm / 21.7 x 15.7 in   

Phillip Allen

Objects wants (wet edge gambit), 2025

oil on board

50 x 40 cm / 19.7 x 15.7 in   

Phillip Allen

Objects wants (wet edge gambit), 2025

oil on board

50 x 40 cm / 19.7 x 15.7 in   

Phillip Allen

Flat Space Thinking (Addictive shape formation), 2025

oil on board

135 x 125 cm / 53.1 x 49.2 in

Phillip Allen

Flat Space Thinking (Addictive shape formation), 2025

oil on board

135 x 125 cm / 53.1 x 49.2 in

Phillip Allen

low memory (wet edge version), 2025

oil on board

50 x 60 cm / 19.7 x 23.6 in   

 

Phillip Allen

low memory (wet edge version), 2025

oil on board

50 x 60 cm / 19.7 x 23.6 in   

 

Phillip Allen

compulsion loops (wet edge version), 2025

oil on board

55 x 40 cm / 21.7 x 15.7 in   

Phillip Allen

compulsion loops (wet edge version), 2025

oil on board

55 x 40 cm / 21.7 x 15.7 in   

Phillip Allen

ruin for sleepers (Unkind endgame), 2025

oil on board

61 x 51 cm / 24 x 20.1 in   

Phillip Allen

ruin for sleepers (Unkind endgame), 2025

oil on board

61 x 51 cm / 24 x 20.1 in   

Phillip Allen

low memory (rough edge variation), 2025

oil on board

60 x 50 cm / 23.6 x 19.7 in   

Phillip Allen

low memory (rough edge variation), 2025

oil on board

60 x 50 cm / 23.6 x 19.7 in   

Phillip Allen - Deep Waiting - Exhibitions - Kerlin Gallery

Phillip Allen
b. 1967, London, United Kingdom.

A relentless experimenter, he has refused to settle into any one mode or style, instead choosing to continually push the boundaries of his chosen medium. This chameleonic approach has seen him pivot from geometric semi-figurative landscapes to soft, disintegrated abstraction, to highly sculptural and textured impasto paintings on board. Consistent throughout this varied output has been Allen’s ingenuity as a colourist, his radical rethinking of pictorial space and depth, and his devotion to the materiality of paint – its plasticity, texture and sculptural properties. But although Allen’s practice is rooted in these very physical, formalist concerns, the resulting paintings can feel ethereal, cosmic, sublime – as if liberated from the very materiality Allen set out to explore. Often featuring fluid, spiralling or coalescing forms, they feel associative, hallucinatory, playful, with titles that display an irreverent sense of humour and curiosity.

Phillip Allen’s work has been exhibited at Tate Britain, London; the British Art Show; CCA Andratx, Mallorca; the Heritage Museum, Hong Kong; The Total Museum, Seoul; and in a solo presentation at MoMA PS1, New York.  His work can be found in the collection of the Tate, London; Arts Council of England; British Council and the UK Government Art Collection.