Keith Epps (°1954, London, United Kingdom) makes paintings and drawings. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, Epps considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
His paintings establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By exploring the concept of landscape in a nostalgic way, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. By choosing mainly formal solutions, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By focusing on techniques and materials, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in painting. With Plato’s allegory of the cave in mind, he makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. Keith Epps currently lives and works in Edinburgh.
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