The title of the exhibition is a combination of two elements: One part is derived from graffiti Dordoy found on a toppled World War II bunker on a beach in France, the other is a reference to Caster Semenya, the female South African middle-distance runner, whose gender was infamously questioned during the 2009 World Athletics Championships, a recurring subject in Dordoy’s oeuvre.
Other motifs are the geometric printed jesmonite objects such as Folded, Unfolded, Sunk and Scanned that resem- ble the shape of an unfolded, lightweight paper airplane. These objects are created through a technique of transferring toner ink on a plaster surface, allowing Dordoy to turn digital found images onto self-constructed shapes.
In his new paintings Dordoy decided to paint instead of print digital found files. He describes these paintings as ‘photorealist, psychedelic mindscapes’. Although the found and constructed images are merged, manipulated and digitally re-worked in Photoshop, they are meticu- lously painted on canvas underlining the discrepancy of manually capturing a digital world. This approach allows Dordoy to engage, and move back and forth with, his investigation into the technical possibilities of expanding two-dimensional found and contracted images.
During his previous solo exhibition at Grimm, Alex Dordoy was still a student at De Ateliers in Amsterdam. He has since moved back to London and has had his first solo exhibition at The Modern Institute in Glasgow, as well as a recent solo show at Christian Anderson, Copenhagen. In addition his work has been included in several group shows such as Recent British Painting curated by Tom Morton at Grimm and Into the Surface at Brand New Gallery in Milan.
- - verberg extra tekst