Zuleika Gallery is proud to present an exhibition of multiples and prints by renowned British artist, Patrick Hughes (b. 1939) including a brand new print, Love created in 2021. The exhibition will be presented physically at Zuleika Gallery in London from 26 April – 14 May and will coincide with an online Viewing Room at London Original Print Fair, 1- 8 May 2021.
British contemporary artist, Patrick Hughes began his art career at Leeds Day College where he was encouraged to create and experiment. In the week that followed the end of his art course Patrick opened his first solo show at Portal Gallery in London which was an enormous success and was the first solo show by a Pop Artist, though they were not even called that then. A few years later, Hughes made two seminal reverse perspective works, Infinity and Sticking-out Room, shown with Angela Flowers Gallery in London. In the 1970s Hughes’ name became synonymous with rainbow paintings, which also became very popular as prints and as postcards; people enjoyed them as decoration, but for Hughes the rainbow represented a solid experience.
In the late 1980s Hughes revisited exploiting the difference between perspective and reverspective and solidifying space. For the last 25 years his 3-D reverspective paintings have been hugely in demand, exhibited around the world and featured in many public collections. The experience of seeing a Patrick Hughes sculptured painting in reality is really to experience unreality and the paradox of illusory space and movement.
The critic David Sylvester wrote about Patrick Hughes: “This artist has the gift, synonymous with creativeness, of being able to be surprised by what the rest of us take for granted. Here is a painter who really has something to say, and his arrival on the scene gives me a rare sense of exhilaration.”
Patrick Hughes comments: “From 1959 to 1989 I spent most of my time as an artist thinking about what I should do and how I should do it; and a small amount of time actually doing it. When I started making the reverspectives in 1990 more time was spent doing the art, because it was more laborious to construct and paint in the illusionistic way works could take up to six months to make. The process changed and speeded up when I started using a computer to do the geometry. I can see now from the perspective of fifty-five years making art that in the first half of my career I was interested in showing people the absurdity of life, but in the second half, with my Reverspective three-dimensional paintings, I let people experience this paradox for themselves (just as a good teacher should). Another way of looking at the career is that my early work was poetic and my later work prosaic.”