Ivo
2011
oil on canvas
170 x 170 centimeters
Unique
"Ivo" is a reconstruction of Gordon MATTA CLARK's "Conical Intersect", famous yet short-lived creation produced in 1975 near the Centre Pompidou (still under construction at the time). Nick DEVEREUX's composition is based on photo montages of the destroyed work, one for the interior and one for the exterior, that are composed by lots of photos stuck together to create a space that a camera lens cannot capture. The sculpture from which the painting was based on, transform the spatial distortions of the photo montage back into three dimensions and evoke a baroque dome.
Ivo II
oil on canvas
180 x 180 centimeters
Unique
"Ivo" is a reconstruction of Gordon MATTA CLARK's "Conical Intersect", famous yet short-lived creation produced in 1975 near the Centre Pompidou (still under construction at the time). Nick DEVEREUX's composition is based on photo montages of the destroyed work, one for the interior and one for the exterior, that are composed by lots of photos stuck together to create a space that a camera lens cannot capture. The sculpture from which the painting was based on, transform the spatial distortions of the photo montage back into three dimensions and evoke a baroque dome.
Mansion I
2011
oil on canvas
114 x 146 centimeters
Unique
"Mansion I" is a pictorial reconstruction of a project made in 1977 by the American artist Gordon MATTA CLARK (1943-1978): entitled Office Baroque in reference to the baroque master Pierre-Paul Rubens (1577-1640) which four-hundredth anniversary was at this time celebrated in Anvers, the work consisted in an oblong hole the artist made upright in an empty building. From the photomontages showing the burst building and fusing standpoints that are incompatible for the human eye, DEVEREUX's painting borrows a same strategy of spatial and temporal cut-up. But Nick DEVEREUX moreover stretches it until an abstraction level where the subject cannot be recognized anymore and where only volumes and lights remain.
Untitled (Bragolin I)
2011
pastel on digital pigment print on rag paper
80 x 65 centimeters
Unique
For his series "Untitled (Bragolins)", Nick DEVEREUX used reproductions of a group of mass-produced and highly popular paintings that were known as "Crying Boys". The paintings feature a variety of tearful children looking morosely straight ahead; they were made by Bruno AMADIO (commonly known as BRAGOLIN) during the post Second World War period in Venice, Italy. On September 4, 1985, the British tabloid newspaper The Sun reported that a firefighter from Yorkshire was claiming that undamaged copies of the painting were frequently found amidst the ruins of burned houses. He stated that no firefighter would allow a copy of the painting into his own house. Over the next few months, The Sun and other tabloids ran several articles on house fires suffered by people who had owned the painting. By the end of November, belief in the painting's curse was widespread enough that The Sun was organizing mass bonfires of the paintings, sent in by readers. To lift the curse it is said you must give the painting to another or reunite the boy and the girl and hang them together. It was later found out that the prints were treated with some varnish containing fire repellant, and that the string holding the painting to the wall would be the first to perish, resulting in the painting landing face down on the floor and thus being protected. Meanwhile, the normal effect of mass-producing an image had been distorted by the weight of superstition inflicted on it by a tabloid newspaper. After sandpapering away the original heads, Nick DEVEREUX replaced them with drawings of sculptures he had made out of paper. Thus, the subject matter is obscured and the remaining qualities of the original image are accentuated.
Untitled (Bragolin II)
2011
pastel on digital pigment print on rag paper
84 x 65 centimeters
Unique
For his series "Untitled (Bragolins)", Nick DEVEREUX used reproductions of a group of mass-produced and highly popular paintings that were known as "Crying Boys". The paintings feature a variety of tearful children looking morosely straight ahead; they were made by Bruno AMADIO (commonly known as BRAGOLIN) during the post Second World War period in Venice, Italy. On September 4, 1985, the British tabloid newspaper "The Sun" reported that a firefighter from Yorkshire was claiming that undamaged copies of the painting were frequently found amidst the ruins of burned houses. He stated that no firefighter would allow a copy of the painting into his own house. Over the next few months, "The Sun" and other tabloids ran several articles on house fires suffered by people who had owned the painting. By the end of November, belief in the painting's curse was widespread enough that "The Sun" was organizing mass bonfires of the paintings, sent in by readers. To lift the curse it is said you must give the painting to another or reunite the boy and the girl and hang them together. It was later found out that the prints were treated with some varnish containing fire repellant, and that the string holding the painting to the wall would be the first to perish, resulting in the painting landing face down on the floor and thus being protected. Meanwhile, the normal effect of mass-producing an image had been distorted by the weight of superstition inflicted on it by a tabloid newspaper. After sandpapering away the original heads, Nick DEVEREUX replaced them with drawings of sculptures he had made out of paper. Thus, the subject matter is obscured and the remaining qualities of the original image are accentuated.
Untitled (Bragolin III)
2011
pastel on digital pigment print on rag paper
83 x 65 centimeters
Unique
For his series "Untitled (Bragolins)", Nick DEVEREUX used reproductions of a group of mass-produced and highly popular paintings that were known as "Crying Boys". The paintings feature a variety of tearful children looking morosely straight ahead; they were made by Bruno AMADIO (commonly known as BRAGOLIN) during the post Second World War period in Venice, Italy. On September 4, 1985, the British tabloid newspaper "The Sun" reported that a firefighter from Yorkshire was claiming that undamaged copies of the painting were frequently found amidst the ruins of burned houses. He stated that no firefighter would allow a copy of the painting into his own house. Over the next few months, "The Sun" and other tabloids ran several articles on house fires suffered by people who had owned the painting. By the end of November, belief in the painting's curse was widespread enough that "The Sun" was organizing mass bonfires of the paintings, sent in by readers. To lift the curse it is said you must give the painting to another or reunite the boy and the girl and hang them together. It was later found out that the prints were treated with some varnish containing fire repellant, and that the string holding the painting to the wall would be the first to perish, resulting in the painting landing face down on the floor and thus being protected. Meanwhile, the normal effect of mass-producing an image had been distorted by the weight of superstition inflicted on it by a tabloid newspaper. After sandpapering away the original heads, Nick DEVEREUX replaced them with drawings of sculptures he had made out of paper. Thus, the subject matter is obscured and the remaining qualities of the original image are accentuated.
Untitled (Bragolin IV)
2011
pastel on digital pigment print on rag paper
80 x 65.5 centimeters
Unique
For his series "Untitled (Bragolins)", Nick DEVEREUX used reproductions of a group of mass-produced and highly popular paintings that were known as "Crying Boys". The paintings feature a variety of tearful children looking morosely straight ahead; they were made by Bruno AMADIO (commonly known as BRAGOLIN) during the post Second World War period in Venice, Italy. On September 4, 1985, the British tabloid newspaper "The Sun" reported that a firefighter from Yorkshire was claiming that undamaged copies of the painting were frequently found amidst the ruins of burned houses. He stated that no firefighter would allow a copy of the painting into his own house. Over the next few months, "The Sun" and other tabloids ran several articles on house fires suffered by people who had owned the painting. By the end of November, belief in the painting's curse was widespread enough that "The Sun" was organizing mass bonfires of the paintings, sent in by readers. To lift the curse it is said you must give the painting to another or reunite the boy and the girl and hang them together. It was later found out that the prints were treated with some varnish containing fire repellant, and that the string holding the painting to the wall would be the first to perish, resulting in the painting landing face down on the floor and thus being protected. Meanwhile, the normal effect of mass-producing an image had been distorted by the weight of superstition inflicted on it by a tabloid newspaper. After sandpapering away the original heads, Nick DEVEREUX replaced them with drawings of sculptures he had made out of paper. Thus, the subject matter is obscured and the remaining qualities of the original image are accentuated.
Untitled (Bragolin V)
2011
pastel on digital pigment print on rag paper
79 x 65.5 centimeters
Unique
For his series "Untitled (Bragolins)" Nick DEVEREUX used reproductions of a group of mass-produced and highly popular paintings that were known as "Crying Boys". The paintings feature a variety of tearful children looking morosely straight ahead; they were made by Bruno AMADIO (commonly known as BRAGOLIN) during the post Second World War period in Venice, Italy. On September 4, 1985, the British tabloid newspaper "The Sun" reported that a firefighter from Yorkshire was claiming that undamaged copies of the painting were frequently found amidst the ruins of burned houses. He stated that no firefighter would allow a copy of the painting into his own house. Over the next few months, "The Sun" and other tabloids ran several articles on house fires suffered by people who had owned the painting. By the end of November, belief in the painting's curse was widespread enough that "The Sun" was organizing mass bonfires of the paintings, sent in by readers. To lift the curse it is said you must give the painting to another or reunite the boy and the girl and hang them together. It was later found out that the prints were treated with some varnish containing fire repellant, and that the string holding the painting to the wall would be the first to perish, resulting in the painting landing face down on the floor and thus being protected. Meanwhile, the normal effect of mass-producing an image had been distorted by the weight of superstition inflicted on it by a tabloid newspaper. After sandpapering away the original heads, Nick DEVEREUX replaced them with drawings of sculptures he had made out of paper. Thus, the subject matter is obscured and the remaining qualities of the original image are accentuated.
Untitled (Jour de France 12 - 19.05.1955)
2010
pastel on magazine pages
52.5 x 44 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Untitled (Paris Match 12-05-1962)
2010
pastel on magazine pages
52.5 x 44 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Untitled (Paris Match 16- 23.10.1954)
2010
pastel on magazine pages
52.5 x 44 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Untitled (Paris Match 18 - 25.04.1953)
2010
pastel on magazine pages
52.5 x 44 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Untitled (Paris Match 18-05-1963)
2010
pastel on magazine pages
52.5 x 44 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Untitled (Paris-Match 13 December 1952)
2012
pastel on magazine pages
50 x 42.3 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Untitled (Paris-Match 25 June 1952)
2012
pastel
50.4 x 42.4 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Untitled (Paris-Match 3 July 1954)
2012
pastel
50.4 x 42.4 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Untitled (Paris-Match 4 July 1953)
2012
pastel on magazine pages
50 x 42.3 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Untitled (Point de Vue January 1961)
2012
pastel
50.4 x 42.4 centimeters
Unique
In this series, Nick DEVEREUX works on the cover of an old magazine and replaces the face of the photographic portrait by a drawing made from one of his 'chimeras' sculpture (see explanation sign for New Myhtologies (Surrogate III)), bringing together issues of representation and identity.
Version (Raoul Walsh 1914)
2011
pastel on digital pigment print on bamboo paper
144.5 x 110 centimeters
Unique
The diptych "Version (Raoul Walsh 1914)" uses two reproductions of images from a sequence of photos shot during the film "The Life of General Villa", which was produced by the American Mutual Film Company in 1914. General Villa was the protagonist of a (now destroyed) film propagating his own life. Directed by the actor Raoul WALSH, who played the younger Pancho VILLA in the film, the film can be characterized as half-documentary and half-fiction work, as it combines real battle scenes and fictional ones; the limits between reality and fiction are consequently blurred. On both photographs used by Nick DEVEREUX, Pancho VILLA is shown riding a horse, but his figure is replaced by a drawing of a sculpture that recreates the notion of movement, emphasizing the idea of someone re-enacting oneself.
