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D*FaceLeft For Dead2021
2021
About the Item
Left For Dead
2021
70 x 99 cm
Limited Edition Screenprint of 140.
DFace, aka Dean Stockton, is an English multimedia graffiti street artist who uses spray paint, stickers, posters, and stencils. D*Face is one of the most prolific contemporary urban artists of his generation. Working with various mediums and techniques, he uses a family of dysfunctional characters to satirise and hold to ransom all that falls into their grasp.
He aims to encourage the public not just to 'see' but to look at what surrounds them and their lives, reflecting our increasingly bizarre fascination for celebrity, fame, consumerism and materialism, re-thinking, reworking and subverting imagery drawn from a refuge of decades of materialistic consumption, imagery appropriated from currency, advertising, comic books, these now iconic motifs, cultural figures and genres are subverted to comment upon our conspicuous society.
One of DFace's most celebrated icons is D-Dog, a bomb-like figure with two tiny wings on the sides. Recent examples of D*Face's satirical and dark humour include his chosen "collaborations"; with H.R.H Queen Elizabeth II on a series of bank notes and the portrait of Pope Benedict XVI to commemorate his statement. D*Face also designed the cover of Automatic's debut album Not Accepted Anywhere, and in 2010 he collaborated with Christina Aguilera on her album cover of Bionic. He was also one of fifty artists commissioned to create a 50th-anniversary Penguin book cover and is the only urban artist to date to be featured on the front cover of the fine art publication Art Review.
DFace describes his artistic method as, 'Like a snail leaving its sticky trail, I leave my artwork; Stickers, Posters, Marker Drawings on empty advertising space and discarded objects, always on the lookout for that ultimate spot.'
DFace has exhibited internationally, including solo and group exhibitions in London, Stockholm, Barcelona, New York, Hamburg, Paris, San Francisco, Culver City and Los Angeles. Well-known exhibitions have included sell-out solo shows Death & Glory, EyeCons, apocalypse now, All your Dreams Belong to Us and Going Nowhere Fast.
- Creator:D*Face (1978, British)
- Creation Year:2021
- Dimensions:Height: 38.98 in (99 cm)Width: 27.56 in (70 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Manchester, GB
- Reference Number:1stDibs: LU2261211718752
D*Face
What now seems like a lifetime but is merely a decade ago I sat slumped at my desk, head on arm pushing a pencil round a piece of paper dreaming up ways to kill time and break the chains holding me to my desk, Monday to Friday each day became the same and I was eating my brain. Then one day whilst dreaming up further ideas in the series of ‘Ways to kill time’ the pencil lines on the pad started to become characters, strange and dysfunctional they formed my dysfunctional world which had no rule. Slowly I figured the pencil could be replaced with a marker pen (the Pentel N50 to be exact) and the paper replaced with cheap vinyl which was acquired from DIY stores, these characters once resigned to a life on paper filed in a folder under ‘Not suitable for visual consumption’ began to have a life of their own; adhered to lamp post and electrical boxes they plotted and linked my route home, one became 10 and slowly 10 became more than I can remember. Each evening and as much of the day as I could rob was spent drawing and cutting out stickers. Stickers became posters, posters became more ambitious and somewhere in between I quit my job or maybe that was I got fired, either way the inevitable had happened. Like a river cuts it’s own path, I’d cut mine. This family of dysfunctional characters began evolve, they started to satirise and hold to ransom all that fell into their grasp, a welcome jolt of subversion in today’s media-saturated environment, the very same thing I’d grown up on. Bank notes were drawn and printed over and put into circulation for the unsuspecting to receive in their change, billboards taken over with public service announcements. I wanted to encourage people to not just to ‘see’, but to look at what surrounds them and their lives, reflecting our increasingly bizarre popular culture, re-thinking and reworking cultural figures and genres to comment on our ethos of conspicuous consumption. A Pandora’s box of bittersweet delights, sweet and sugary on the surface, but with an unfamiliar, uncomfortable, taste beneath. This isn’t the beginning, it’s not the end it’s happy never ending. D*
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