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310 pages, Hardcover
First published May 3, 2016
“Before this beautiful, haunting collection of work came to light, the name Daniel Blake was little known outside a small corner of the art world. That looks set to change as an exhibition of his works opens to the public this Saturday at London’s Penfield Gallery. Blake is also in the running to do a series of paintings for Sir Richard Hawthorne’s New Tate Restaurant, a commission widely regarded as among the most prestigious in contemporary art today. The artist is here in London for this, his first solo show.”
“The painting in front of her was so close that she could reach out and touch it. Trace the lines of the body. There was something about it that seemed so real. Much more real than the crowded gallery that surrounded her now. It seemed that if she stood and looked long enough, the girl’s hand would move through the length of her hair, finders disappearing among the soft strands. That the hint of smile in her eyes would spread slowly, inevitably to the rest of her face. Kat felt a tightening in her chest. An ache.”
As she reads of Daniel’s first major exhibition, from New York’s finest collectors and elite, over the span of twenty years, Blake had created a series of works that served as an intensive study of one unidentified model. A rare view of the stylistic and emotional evolution of the artist. The artist was enamored with the redhead.
A mystery, the anomaly has captured the imagination of the art world as to if the model is real or simply a product of the artist’s imagination. With two distinct parts, an emotional intensity of subtle textures of flesh and plaster and cloth—the delicate, varied brushstrokes, moments stolen out of time.
Later works, the paintings themselves are the moments¬attempts to recall time past. A sharp departure from the earlier portraits. He moves closer, breaking down the highly detailed elements. The irony—the closer Blake moves to the girl, the more distant she becomes. The extraordinary tenderness of the earlier work, is missing replaced with an almost scientific approach.
What starts as an exploration of the whole person becomes an obsessive exhumation of pieces of the whole. Change in technique and tools. The dead spaces between them seem almost alive. The artist seems to be painting absence itself. Later works seem to be a desperate attempt to magnify their memory –to fix them in time. Earlier works which were effortless, now with painstaking discipline. Compulsive—turning away from truth to beauty. To be examined closely. A slower pace. A desperate attempt to animate his subject—to make her come alive in time. A yearning to hold on. Haunting. A need to fit the pieces together.
"It's just that I remember everything." Kat let the words tumble out of her. "I remember every moment. Every day. Every night. I remember every inch of his body, the way he felt, the way he tasted, the smell of his skin. But even more than all of that, and even more clearly, I remember the girl in the paintings. Who she was and what she wanted and what she knew for sure. And I don't know that anymore. Not lately, anyhow."