BOBBY DOWLER / SUNDAY ART FAIR 2019 / LONDON

 
BOBBY DOWLER / SUNDAY ART FAIR / LONDON BOBBY DOWLER / SUNDAY ART FAIR / LONDON BOBBY DOWLER / SUNDAY ART FAIR / LONDON BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 / 2018-19 BOBBY DOWLER / SUNDAY ART FAIR / LONDON BOBBY DOWLER / SUNDAY ART FAIR / LONDON BOBBY DOWLER / SUNDAY ART FAIR / LONDON BOBBY DOWLER / SUNDAY ART FAIR / LONDON BOBBY DOWLER / SUNDAY ART FAIR / LONDON BOBBY DOWLER / SUNDAY ART FAIR / LONDON 2019

BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 / 2018-19

 
BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01

BOBBY DOWLER / SUNDAY ART FAIR 2019 / LONDON

 

For over a decade Bobby Dowler (b 1983 in London) has collected the paintings that nobody else wants and used them as a starting point to make his own works out from. Pre-existing paintings and their wood supports come in all different shapes, sizes and styles - some have been carefully made, exhibited, sold, cherished, destested, neglected, laughed at, badly damaged and aban- doned on street corners - others have found their way haphazardly and without artists' signatures to flea markets in various countries. Eventually some of these paintings will end up in the works- hop of Bobby Dowler's where, for better or worse, they will meet their fate and be repurposed.


Bobby Dowler deconstructs his materials with his hands, tools and utilises paint, staples and glue, in order to assist the evolution of them into roughly-made ‘painting-objects'. Each painting-on-can- vas gets separated from its original wood-support (which is also later re-used in a wrong way!), re- worked, built up, broken down and partly destroyed, leaving only partially mutilated paintings and somewhat disfigured wood supports.


It is as if Bobby somehow wants to get inside the ‘painting' so that he can turn it inside-out.
Finally, after a protracted struggle (sometimes weeks, months, years pass), something unintentio- nal happens in his workshop and this surprise action helps guide a work towards it's eventual completion.

BOBBY DOWLER / I WILL FIND ONE / 17.11 - 19.01 / 2018-19

 

Bobby collects and re-uses found paintings-on-canvas and wood-stretcher-frame devices that have been pre-used in the past by others. Years ago, in a state of financial restriction he started to buy these cheaply from street markets however, more recently he has been receiving donated ones presented to him by friends. He adds these to his own artistic offcuts that have built up over the years. Once in his possession he analyses the paintings through separating them from their stretchers and through ordering each (the stretchers too) by approximate size, style, format or shape.

 

However, in general he will physically manipulate the materials with hands and with tools, often cutting with knife or scissors, applying paint by brush and in general doing whatever he feels like needs doing, until he discovers an unlikely procedural manoeuvre that can instigate the event that will help guide a work towards its final completion.

 

"Developments are innately unpredictable. Sometimes I won't use a certain painting or its stretcher wood for years, or I might totally destroy it, or I will use a part one day only to put it back in storage for a future consideration the next."

 

The materials all have their own history, and their particularities serve as an aspect of subject matter, giving Bobby a sense of what to do and how to proceed. During a protracted struggle, a ‘wrong' stretcher is often deployed to connect and frame the painted content.

 

It is in the nature of the work that he cannot foresee what precipitates the completion of a particular work. The discovery experience is subversive of predictable results and in the end his conclusions are not quite - or just - ordinary paintings, but what he refer to, in his naming of them, as Painting-Objects - that is ‘paintings' that have been reformed into 'objects'.