Andrew Dadson’s Cuneiform (2013 – ongoing), is a compendium of photographs taken on the streets and back alleys of Vancouver and Los Angeles.
Each photograph depicts the adhesive substrate of a sign—most likely a no parking notice—missing from the exterior wall of a building. Dadson’s camera isn’t pointed at the ghost-like absences however; as it is the gestural— and perhaps not unintentional—calligraphic glue marks produced by the sign posters who first affixed the notices. Their expressive, and often evocatively beautiful ‘script’, is—like a cuneiform letter chiseled in stone— permanently inscribed in weather proofcaulking or construction glue.
Noted for his photography, landscape interventions, and recent series of luscious, aggressively impastoed abstract paintings, Vancouver-based artist Andrew Dadson (b.1980) has gained a considerable following for a practice that marries conceptualism with expressionism in unique and provocative dialogues. In 2011 he was the recipient ofthe Brink Award and his work has been featured in numerousexhibitions across North America and Europe. Recent solo exhibitions include: Over the Sun, VancouverArt Gallery, (2015); Painting (organic), David Kordansky Gallery, Los Angeles, (2015); Suburban Suprematism, Galleria Franco Noero, Turin, (2013) and The Brink, Henry Art Gallery, Seattle (2012). Cuneiform is his second artist book. He is represented by DavidKordansky Gallery, Los Angeles, Franco Noero Gallery, Turin and Raebervon Stenglin, Zürich. Edited by Roger Bywater and Reid Shier
Published by Bywater Bros. Editions
and Presentation House Gallery, 2015
204 pages, softcover
7.5 x 5.5 inches / 19 x 14 cm