​

Biography

​

Derek Dickinson (b.1960) originates from southwest England. In 1983 he relocated to London and worked as a designer and stylist for film, photography, television, video and performance, as an assistant director on music videos, in artist management and PR, predominantly associated with the music industry. 

​

After returning to the South West Derek began studying art at Plymouth City College. Which then lead to a BA (Hons) in Fine Art at the University of Plymouth in 2010. In 2019 he returned to the University of Plymouth and attained an MA in Fine Art in 2022.

​

Derek has exhibited work in numerous solo and collaborative shows, including at the Royal Academy London, in Berlin and southwest England. His work is in permanent collections in the USA, Canada, South Korea, Hong Kong, India, Germany, Spain and the UK. 

​

Derek resides in a remote farm cottage on the Duchy of Cornwall Estate.

Statement

​

My practice is predominantly autobiographical, considering human existence, including some of the more challenging aspects of life. 

​

Movement is a key factor in my work, an abstraction of fluid forms reflecting my interest in the endeavour of existence. My canvas works, often employing acrylic paint and muslin, explore spirituality through textural forms. 

​

In the past, I worked predominantly in monochrome. In effect removing all colour, working in pure white, occasionally introducing tones of grey and black. Working in monochromatic white allowed me to strip away anything superfluous from the composition, allowing the viewer to focus solely on the sentiment of the piece.

​

In time I began exploring the reintroduction of colour, primarily using the primary colours, seeing if they might bring new meaning and strengths to the work. Expressionistic yet controlled, muslin is thrown repeatedly and teased until the ethos of the piece is revealed. The minimalistic canvases’ rich textures reveal delicate and sensual figures.

​

I have an interest in performers and have investigated many artists, including Rudolf Nureyev and Vaslav Nijinsky, interested in their undying commitment to their art despite the suffering it can often entail. I used the image of the performer as a metaphor for human tribulation. 

​

Over time the conceptual expressions of emotion have become increasingly more figurative. Elements of soulful musicality and dance are present in the works, exploring the philosophy of the performer and reflecting on human vulnerability.