Laser explosions and licks of colourful flame dance up and across the clear sky while down below a headless woman’s torso lies in the middle of the scene, a windmill protruding from her side. She is displayed on top of countless vibrant spikes that emerge from the hills in the foreground. The scenes Alex Daw creates for his viewers are ones of fantastic play and uneasy pleasure. He slices together small pieces of visual information until they all fit meticulously and into one unit. His compositions are dense and he uses little white space, if any at all, engaging the entire surface in a very ambitious way. The viewer does not get caught on any specific area for too long. Your eye wanders and loops around and around endlessly discovering more about the composition and creating new connections between the visual languages. Daw frequently employs text as well, as in In Summer where the meanings of these words ride the waves as the viewer bounces back and forth between the fragments of text. Beauty and reality float across this sea formally divided down the middle by crystal-like rock formations that build up to the big bang: “make something” that starts it all over again. Daw speaks about the “visual codes of our time” and it is obvious that he is able to manipulate these codes with a subtle understanding.
Alex Daw (b. 1982) lives and works in London. His work has been exhibited extensively in exhibitions such as “The Impossible Heap” at Galerie8 London, The Santorini Bienalle 2012, The Other Art Fair at the Barge House in Southbank, London, and “Paper” at Pertwee Anderson & Gold gallery in 2011, among others.
Daw’s work has been featured in publications such as Cut & Paste (21st Century Collage), published by Lawrence King Publishing, London, and numerous online Publications.