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For John Wilkins, the concept of painting as a repeated practice is both the form and subject of his canvases, which he describes as “paintings of paintings; paintings of painting, and always paintings of the of.”
Less rendered than scripted, Wilkins’ process of overlaying one complete painting over another, always working in a steady flow from top left to bottom right and replicating unique gestures with stencils, is a deliberate act of misquotation.
Skewing painting's traditional associations of authorship and reverence, Wilkins’ works focus on individuation as a temporal value based on his audience's in the moment observations.
Wilkins' often uses a limited, black and white palette to address painting through the modern language of photography as an instant document, where a fixed past is constantly revisited and revised by new meanings and interpretations.
Wilkins’ work is regularly exhibited in the UK and internationally, featuring at galleries and museums such as Cash / Newhouse Gallery (New York), Anthony Reynolds, Bloomberg Space, The Approach, and Hayward (all London), Vereinbarung Ausstellungsraum Harry Zellweger (Basel), Paragon (Singapore), Centro de Arte S Jao a Madeira (Portugal), Thomas Cohn (Sao Paulo), Palacete Dos Viscondes De Balsemao (Porto), Galerie de L’ensa (Bourges), Lugar do Desenho-Fundaciao Julio Resende (Porto), British School at Rome, Gallery Holly Snapp (Venice) and the 2002 Shahjah Biennale (UAE).