Pop-in arcadia. Marble, wood, aluminium, vinyl. 2009 // © Dexter Dymoke
Dexter Dymoke’s art accepts implausibility and resists clear ideas from the start. Looking at his sculptures, what you see is the use of clean and simple materials such as wood, aluminium, bronze and steel. These materials travel you to Dymoke’s artistic world and reintroduce you to the often forgotten and misplaced beauty of each one of them. The viewer is captured by the use of contradictory materials, by the spirituality that they convey and by the unique way Dymoke chooses to blend them.
Untitled (drape and colour). Wood, paper, fluorescent tube, rubber. 2011 // © Dexter Dymoke
His sculptures are in an open dialogue with the “external world,” he says as he uses found objects, which “provide a balance.” Dexter in explaining what the found object means to him, he says that it brings a kind of history. “The language of the ready-made is material co-opted to objectify my internal processes – as such the found object provides a balance. It is a symbol of that which has always existed, of continuity. I am not responsible for it – it has the feel of infinity. This distancing aspect allows me to have a relationship or dialogue with the work as it comes into being.”
Bou. Wood, aluminium, ribbon. 2011 // © Dexter Dymoke
Ages and ages. Bronze. 2011 // © Dexter Dymoke
Referring to the element of play in his work, Dymoke makes a connotation. “It is interesting to think of the manipulation of materials as mischievous. Play is outside authority – it is anarchic and I use it in this spirit. The child, who is almost in all respects helpless, is completely autonomous in the arena of play. He or she cannot explain how it happens – in this sense the activity is free and oblivious. Play, and perhaps art making, is where you innocently do what you want”.
Headland, wood, chipboard, 2010 // © Dexter Dymoke
Untitled. wood, paint. 2009 // © Dexter Dymoke
Apart from the element of play, Dymoke explains that he resists forming a clear idea from the start. Instead, he is attracted to the material, which ultimately becomes part of his work. He feels attracted to the material itself as an entity and is important to him to have some kind of chemistry with it. “I allow myself to be attracted to stuff and the chemistry of this attraction may contribute to a poetic impulse – I believe it to be subconscious”.
What’s fascinating about his art is that despite the coldness that some of the materials evoke, Dymoke achieves to ‘inject’ them with something very warm making them look utterly familiar. As he says, “what is good about what we see cannot always be accounted for and accepting this is healthy. I think sculpture is a good forum to explore this.”
Good Fall, fluorescent tube, aluminium, cloth 2010 // © Dexter Dymoke
Model for an argument. Wood, paint. 2008 // © Dexter Dymoke
Dexter Dymoke is undertaking his final year at the Royal College of Art (RCA) in London and so far has done a number of impressive public works including an installation for the Festival of Architecture at Canary Wharf in London and “The Bench” at Battersea Park in London. Throughout his work, it is evident that his relationship with the viewer is extremely important to him. As he explains in a very visual way, he loves “the performative aspect of sculpture and the way it choreographs the viewer.” “I see public sculpture as meeting the audience halfway. One has one’s practice and the audience has its expectations – it’s healthy to be creative with compromise. In fact I like making art because I like to say: “ hey, come and look at this, ” he says.
Witness. Wood, fabric, metal. 2007 // © Dexter Dymoke
It was a pleasure for Yatzer to see his latest show at Nettie Horn. Talking about the show and his newest pieces he explains that there is a consistency of texture, color and tone. “I’m using steel in the newer works and this separates them out a bit but in the work “Lost content” for example, it simply provides a frame for the main elements. The work “The Lines” is about the tension of planes, verticals, lines, but then again right in the middle of it there is an image (the found object) which is so frank in its presence that I wonder about its plausibility. “Why is it there?” might be the single question that sticks in the mind of the viewer – and I’d be happy with that,” he says.
left > We love this place, steel, dimensions variable, 2010 (at Battersea Park) // © Dexter Dymoke
right > Architect, wood, paint, 2010 (at Canary Wharf) // © Dexter Dymoke
Hokum. Bicycle chain, wood, toy part, fabric. 2009 // © Dexter Dymoke
The Reader. Ceramic, found material. 2008 // © Dexter Dymoke
Loveseat. Door, chairs, paint. 2007 // © Dexter Dymokesources: