The gestural vigour of Peter Lamb’s latest paintings suggests inspiration from Abstract Expressionism and even from the automatic techniques used by the Surrealists.

But exposure to the warren of marks that complicate these surfaces relates the artist’s ideas more closely to the American painter Cy Twombly who, while an admirer of Jackson Pollock, was also a critic of Pollock’s painterly style to a level as self-identifiable as a signature.

For Twombly, urgent and untranslatable furrows cancel individual expression to the point of anonymity. Random and repetitive, Twombly’s marks contest the lure of the heroic artistic presence with an ‘anti-gesture’ that confronts the flatness of a painting’s surface with complex clusters of lines and forms that alternate between clear and hidden areas.

Lamb also promotes inscrutability about meaning with concentrations of strokes, shapes and textures. Gestures are his own and, conceivably, other people’s; authorship cannot be vouched for throughout an expanse of painting.

Peter Lamb was born in 1973 and lives and works in London. In 1996 he graduated from the Camberwell School of Art, London. Solo Exhibitions: Warm Time Machine, Monika Bobinska Gallery, London (2008); The Unemployed Prophet, CTRL Gallery, Houston, Texas, USA (2007); The Art of Dickies and Pollocks, Kontainer Gallery, London (2006). Recent Group Exhibitions include: The Perfect Crime, curated by Phill Allen and Dan Coombs, 4a Gallery, Malvern (2011); By Chromed Hooves It Travels Now, Annie Wharton Gallery, Los Angeles (2011); Ist Show, Strezelski Galerie, Stuttgart (2010); Das vertraute Unvertraute, Wurttembergischer Kunstverein, Stuttgart (2010); PlusArtProjects, Bankside, London (featuring Damien Hirst, Anselm Kiefer) (2009).

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