Abstract reliefs

2014 - 2015

Initially trained as a painter Lewis begun his career as a figure and landscape artist. Over time his paintings grew increasingly dense in pigment until they became somewhat 'sculpted', till finally this became his medium of choice for almost two decades. Thus in many ways these latest relief works represent a full circle return to painting for the artist. Here, incorporating the tools and techniques he has developed in sculpture, have led to expressing ideas on wall mounted reliefs.

Devoid of any identifiable subject matter these abstracted coloured panels are simply an expression of the 'spoor' of raw emotion into the surface of clay.

A Spoor is traditionally 'any sign or trace of a creature by which the progress of someone or something may be followed. A spoor may include tracks, scents, scat, or broken foliage'. Thus these sculptural forms can be seen to be linked to his 'recognisable' sculptures in the same way that his hand prints - his 'spoor' - have become a signature of his sculpted surfaces.

Equally they can also be linked to the core of the artist's lifelong fascination with wilderness.

For the artist there is also a link to the animals that inhabit these wild regions and not least, to the ancient art of tracking where: 'to follow the spoor of an animal was more than a survival necessity but an act of engagement with that animal'.

Lewis elaborates further where he explains:

to be 'one' with that animal and its surroundings ... and to be aware, as the bushmen believed: 'when you are tracking you are dancing... you are talking with g-d'.

These wall panels have been created using a unique process developed over the past year by Dylan Lewis and his team. A mould is taken of the original clay panel worked on by the artist. Then successive layers of coloured reinforced acrylic plaster are layered onto the mould to create the coloured surface in a process very similar to printing. Each work is 'printed' in an edition of eight and due to the nature of the process, each example in the series is different.

Split Landscape

2014 - 2015

For many years, the deep emotive impact of geological textures in ancient fissures, overhangs and natural crevices has been evident in Lewis sculptures. This impact of the weathered, the remote and rugged landscapes has found form in the latest, abstract sculpted reliefs by him.

The notions for the artist of the earth 'expressing itself in physical form' expressing itself in physical form.

These abstract landscapes explore the early memory of an ancient eroded landscape, as the artist states 'exploring the landscape of the subconscious'.

A negative image of the original positive shape, is through a process of moulding and casting revealing the original back of the form that was originally sculpted. Made using reinforced acrylic plaster coated with powdered pigment, it merges to create a light absorbent surface. This process also serves to reveal an entirely new inverted image - the opposite of the conscious memory of this particular landscape.