Richard Dunn
100 Blossoms (Five Prisons)

1988

EB57

5 etching/ aquatint/ silkscreen print
100 x 70 cm each

Edition of 40 + 12 artists proofs, signed and numbered

available with the portfolio "Aus Australien"

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part of portfolio AUS AUSTRALIEN
A print by Richard Dunn in oblique view with a white frame on which very bright architectural structures are printed. In the center a small drawing in blue with plants, urban architecture and a couple
A print by Richard Dunn in oblique view with a white frame on which very bright architectural structures are printed. In the center a small drawing with plants, urban architecture and two faces looking at each other
A print by Richard Dunn in oblique view with a white frame on which very bright architectural structures are printed. In the center a small drawing in brown with plants, urban architecture and a face
A print by Richard Dunn in oblique view with a white frame on which very bright architectural structures are printed. In the center a small drawing in green/black with plants and urban architecture
A print by Richard Dunn in oblique view with a white frame on which very bright architectural structures are printed. In the center a small drawing in red with plants and urban architecture

    Richard Dunn’s works often reflect the historical and social context of artistic production and deal with the complex question of perception and interpretation. Eclecticism and the change of stylistic orientation are strategies deliberately employed by Dunn to prevent his works from being interpreted in a simplistic way. By combining perspective drawing, realistic painting or film montage techniques in his works, he undermines conventional ways of seeing and interpreting.
    Dunn’s contribution 100 Blossoms (Five Prisons) to the print portfolio Aus Australien (EB57) consists of five screen prints that function as passe-partouts, each with a narrow window containing etchings and aquatints in different colors. All of the etchings show the faces of a couple gazing intimately into each other’s eyes, but only in some of the sheets can they free themselves from the overlapping vegetation and the sketched urban architecture and stand out clearly. The tightly cropped image also creates a feeling of confinement, which is further intensified by the faint silkscreens with their rigid, schematic depictions of architecture.
    Text: Katrin Seemann