PETER DAVERINGTON
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The last few years I have been trying to merge my broad interests in painting into a single image––one that is almost like a history lesson in the evolution of painting.
– Peter Daverington
Peter Daverington paints landscapes that art history can live in. In his peerless, maximalist aesthetic Daverington recreates disparate images, styles and references from the masters of Eastern and Western art. Having built upon a foundational practice of graffiti and street art, the immaculate baroque quality of his rich oil paintings announce that he is a painter of rare distinction.
Daverington’s practice is supported by an erudite hunger for images. Rather than appropriating any one particular artist from the past, he narrows in on the anonymous features of broad traditions. How did the High Renaissance artists paint hair and lips? How did the Romantics paint mountains? How do Australian artists paint gumtrees? In Daverington’s work the profession of art is spoken for, and the visuality of the past reaches out into our contemporary moment.
Peter Daverington (b. 1974, Melbourne, Australia) has held more than sixty group and solo exhibitions in Australia, Europe, the Americas, and Asia since 2003. In 2006 Daverington completed an MFA at the Victorian College of the Arts, where he received the prestigious KPMG tutorship to teach in the painting department. He has received two Australia Council for the Arts project grants, in 2005 and 2010 respectively; the John Coburn Emerging Artist Award in 2008, and the Rupert Bunny Fellowship in 2011 for his first moving image work. Recent solo international exhibitions include Small Works, Susan Boutwell Gallery, Munich (2019); Daverington does de Chirico, Susan Boutwell Gallery, Munich (2017); Before the Apocalypse, Shanghai Mass Art Centre, Shanghai (2016); Iconophilia, The Lodge Gallery, New York (2015); Lacuna, Chasm Gallery, Brooklyn, New York (2015); and Weltlandschaft (2016). Recent group exhibitions include Doug Moran National Portrait Prize, Juniper Hall, Sydney (2018); Classic Nouveau, Latchkey Gallery, New York, NY (2018); Latent Content Analysis, The Lodge Gallery, New York (2017); The Oasis, Gitler_& Gallery, New York; Divine Abstraction, Justin Art House Museum, Melbourne (2016); Lurid Beauty: Australian Surrealism and its Echoes, National Gallery of Victoria, Melbourne (2015-16); The Garden, QUT Museum, Brisbane (2015); 100 Little Deaths, Bravin Lee Programs, New York (2013); Peekskill Project V, Hudson Valley Centre of Contemporary Art, Peekskill, New York (2013); and Currents 2012 & 2014 – Santa Fe International New Media Festival, Santa Fe, New Mexico. His work has been acquired by several major collections, including Artbank, KPMG, Macquarie Bank, Geelong Gallery and Gippsland Art Gallery, as well as private collections throughout Australia and abroad.