ORGAN THING: Howard Dyke at Studio 1.1 and the artist’s actions, dismembered over time and re-assembled to inhabit new spaces…

Really like the fact that Studio 1.1 is almost defiantly hanging on there behind the brightly painted door half way along a Redchurch Street now almost totally fallen to the soulless greed and corporate designer label shallowness that is now really seriously strangling the creative life and integrity out of East London.  Somebody moaned that all they ever read about now here on these Organ pages now is how galleries were closing and venues were closing and artists were being pushed out and well, we make no apologies, it is the reality of life here in East London now, still hope while the red door od Studio 1.1 is still open though…

HOWARD DYKE, Studio 1.1, June 2016

HOWARD DYKE, Studio 1.1, June 2016

Studio 1.1 is one of the more reliable art spaces in East London in terms of regularly having something actually happening and actually having the front door actually open and an actual sign outside so you know something is actually going on (take note most galleries still hanging around here, it might just help to have a sign outside!).


And so it happened to be that things were being dropped in the area and it so happened that a rather forceful painter called Howard Dyke had a rather powerfully energetic (and yes, rather dominant in the way it occupied the rooms) show in the small space on the day we happened to be be passing.  The Howard Dyke show has been and gone now, we pretty much caught it on the final day (sorry), still well worth mentioning and documenting here though (hey, I said sorry! These are busy times, art to drop, art to hang in trees, in rust-filled metalwork shops and we’re off to Hastings for Seaside Treats and the next leg of the Art Car Boot Fair on Saturday, there’s never enough time for Organgrinding, and I do’ntsee many others documeting all this exciting art right now).

Howard Dyke’s “New Emperors” show does need to be mentioned here even if it is all over now.  A show to really drink in, it really was about immersion and the energy of paint, the marks left behind, the marks made while making art, fragments from previous paintings, from “elsewhere”, the intimacy of art making

The red door of Studio 1.1, June 2016

The red door of Studio 1.1, June 2016

Stepping off the street in to a room like this is exciting, stepping in to the world of another artists, another world, a private world opened up, intimate marks, energy, colour,  “palimpsests of the artist’s actions, dismembered over time and re-assembled to inhabit new spaces within a new framework…”.  Loved this show, loved being in there, loved being the only one in there, loved watching others in there, I love going in to art galleries, needed to tell you about it, art excites me….(sw)

HOWARD DYKE, Studio 1.1, June 2016

HOWARD DYKE, Studio 1.1, June 2016


More about Howard Dyke can be found here  Meanwhile click in an image to enlarge or run the fractured slide show that conveys a fraction of what was to be found behind the open red door.

STUDIO 1.1 show statement….

“Howard Dyke’s new paintings come from the total immersion that is the artist’s studio. After long observation figures emerge, figures which are themselves constructed, collaged after long reflection from the painted materials strewn around him. As with all collage, each element’s origins are readable as from ‘elsewhere’ but here as painted fragments, their sources are the previous acts of the artist, conceptually re-framed from past gesture and impulse, an elsewhere in time as much as space.

The paintings we have before us are in fact palimpsests of the artist’s actions, dismembered over time and re-assembled to inhabit new spaces within a new framework. It is the Frankenstein re-structuring of the figure not just within the canvas/es but within our cognitive process (simultaneously dissonant and affirmative) that puts us in constant flux before Dyke’s work.

Each of the three works on display here is in a different state; not of resolution, all are resolutely finished, but of presentation. One, ‘New Emperor’ floats almost unattached to the gallery space, a second ‘No Riot’ is stapled to the back wall and turns a corner, as though unscrolling its grand narrative, while the smallest (relatively speaking) ‘New Hope’ is stretched and although not exactly portable, accepts other environments, other contexts. As with the majestic sweep of paintings forming ‘The Triumphs of Caesar’ at Hampton Court, moving alongside you become one of the crowd but here also part of the procession itself, momentarily incorporated into the painting.

The huge scale of the work is not a question of domination but generosity, allowing the viewer at every turn a new reading, alternatives that are nevertheless always posited around a liminal figuration, a fleeting beauty”.

Howard Dyke – lives and works in London

Artist Bio

Howard Dyke uses imagery as motifs transcended through the physicality of the paint. Dyke repeats his motif over and over, but each time differently. Each painting, although related to all of the previous ones, exists on its own, considered as a new set of painterly problems to resolve. This is evident in the small and large variations between one and another, the way works made synchronously can be so far apart aesthetically and in even their subject matter; in this they may be compared with Albert Oehlen’s practice. The works vary in size – most of the paintings are big paintings in the Neo Expressionist tradition, but they are rarely made in the same dimensions; the palette ranges from candy colours to hard metallics and neon’s, cold greys and blues with small intense areas of vivid red, orange, lime; there are a range of materials and techniques used – some incorporate inkjet prints onto various fabrics, thickly and thinly over-painted in oil and gloss, some allow their patterned fabrics to emerge through the paint; other media include collaged images from magazines and brightly coloured tape. Accordingly, the imagery also transforms, veiled women become mountains, piles of ice cream, airplanes, a polar bear, 50s sci-fi figures in spacesuits, helmets and tubes echoed by or developed out of the real Hoover covered in paint. Textures change from soft fabric to hard and shininess, reflective surfaces, then become dripping paint again.

(Stephanie Moran – Turps Banana, 2009)

HOWARD DYKE, Studio 1.1, June 2016

HOWARD DYKE, Studio 1.1, June 2016



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