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Richard Wright
Louise Neri discusses the artist’s new exploration of glass works.
We see more than we know. It is important to stress that the act of seeing is also a physical act in which we release our bodies to the world and the world is incorporated into them.
—Richard Wright
Gagosian Gallery Rome is pleased to announce an exhibition of new leaded-glass works by Richard Wright.
Wright is best known for his site-specific yet transient works that unite painting with graphic and typographic elements, charging architectural spaces with a fourth dimension of subtle yet extreme optical complexity, and subverting the traditionally static dynamic between painting and viewer. Made directly on the interior surfaces of buildings—at greatly varying scales, in overlooked, interstitial areas as well as on walls and ceilings—his paintings and applied metal-leaf schemes often last only as long as the exhibition.
Wright's paintings are rhythmic structures extracted from things, experiences, artworks, and artifacts. Oscillating between illusion and abstraction, they evince associations with both pure and applied art: from Minimal Art, Renaissance painting, the Russian avant-garde, De Stijl, Abstract Expressionism, and Op Art; to clothing, record covers, commercial art, and porcelain.
Louise Neri discusses the artist’s new exploration of glass works.
Richard Wright and Martin Clark, director of Camden Art Centre, London, discuss Wright’s latest body of work, recent commissions, and new monograph, which provides a comprehensive overview of his practice between 2010 and 2020.
In an excerpt from his forthcoming monograph, Richard Wright pens a personal and philosophical text about painting.
In an interview with Kay Pallister, the artist explains his relationship to drawing and the importance of time in his site-specific works.
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.