DEREK MAINELLA

Derek Mainella’s paintings occupy the “much-contested liminal space between the digital and the physical” through the use of photoshop and the prod and swipe of various apps used for their conception. When translated onto canvas with modernist staples such as slices and color fields, the forms then subvert these austere historical origins, taking the shape of novelty faces which paradoxically point towards a disharmonious future of consumption and commodification.

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Castor exhibition:    
It's the end of the world as we know it and I feel fine (2017)

Infinity Poison (2016)