•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
Saatchi Art
Saatchi Store
Current Exhibition

Dean Hughes EXHIBITED AT THE SAATCHI GALLERY

Shelves (i)
Dean Hughes
Shelves (i)

2008

Backing card

30 x 30 x 6.3 cm
“My work doesn’t start with materials, it starts with objects that have a use. When I began thinking about making artwork I wasn’t too interested in bronze or canvas, or any other traditional forms, because they come with a preconceived hierarchy. I was interested in things I thought didn’t have a relationship to art, like puddles or bus tickets. These things are from a similar family, they’re perfunctory and unloved things. I have found that trying to forget about making art opens up a much more generous process. This series originated from notebooks; I used the cardboard backings from the used writing pads I had. I became intrigued by the ring binder holes that were punched down the side. I made a cube just as a way to look at the holes without having to hold the card in my hand. There was enough in this activity to allow me to make more. For me it’s like building a relationship with them.”
Shelves (ii)
Dean Hughes
Shelves (ii)

2008

Backing card

15 x 20 x 6.3 cms
“My work used to be more about ideas, but now it’s much more about me seeing myself doing an activity. The process is really crucial. It’s about making an artwork from a thing which I think hasn’t been noticed. Part of my process is just looking at my objects in a space. My studio is in my flat and the works were made in different rooms, so I spent a long time living with them and looking at them in an everyday functional environment. It wasn’t until I first installed them in an empty space that I became aware of how much they are looking at you. I was surprised by how alive they seem. People often think of them as bird boxes or some form of architecture, but I don’t really think about them in a representational way. When I look at them it’s like they’re really full, like each one might have something in it.”
Shelves (iii)
Dean Hughes
Shelves (iii)

2008

Backing card

30 x 21 x 6.3 cms
“I try to make a better or the very best relationship with work that I can: I make one, and then try to have an even better experience when I make the next one and to attempt a unique expression. The cubes are 2.5 cm as I didn’t punch the holes. The scale is dictated by the distance of the hole to the edge of the paper. Measurements are important to my work: I’m fascinated by how the space between the edge of the paper and the hole can generate an artwork. It’s a way of not making a decision about it, and just going with something. Part of it is about me finding an admiration or beauty in those things. I thought about building things with them, but I try to keep as much as I can out of the work, so instead I made structures to see them in.”
Shelves (iv)
Dean Hughes
Shelves (iv)

2008

Backing card

30 x 21 x 6.3 cms
“How they are installed is an important aspect of the works’ process. In a sense they are like paintings hanging off pins on the wall. How they’re architecturally sited is important: their relationship to the space, floor, ceiling, and each other. They’re installed at different heights to help interrogate these relationships. It’s not a purely visual process; I’m interested in how they communicate beyond their given circumstance. I studied painting and as a student I was given a wall to work on – but never made any paintings, so I have a slightly uneasy relationship to the wall. My works are kind of sculptural, but they have a frontal view and aren’t something you can walk around.”
Boxes
Dean Hughes
Boxes

2008

Backing card

30 x 22.4 x 6.3 cms
“It’s strange talking about these works because they’re more about a haptic experience than an intellectual one. It’s difficult to verbally convey the experience of intimately coming to know an object or material over a long period of time by handling it or repeating a physical process or set of actions. I think it has something to do with the space inside them. You can’t see it, and I don’t know what it is, it’s unaccountable. When looking at them I’m aware that I’m looking through a hole punch, and I like the bog-standard ordinariness to it. When I first showed them, I went back to have look at them and saw a spider crawl out of one of the holes; it made sense to me.”
Shelf and Boxes
Dean Hughes
Shelf and Boxes

2008

Backing card

22.4 x 23.4 x 6.3 cms
“It’s important that the works have a connection to my hand, I don’t feel comfortable with things bigger than my hand. I prefer to make things by hand, they have to be made by me – they’re never made by industrial processes and I never use assistants. I think that’s all artists have – the process of making things they don’t understand. Artists spend their time trying to understand things. What I really enjoy about looking at artwork is that it always relates to a person. It’s approachable because someone’s made decisions about it, and I can think about those decisions. In Shelf And Boxes the objects just sit on top of each other, they’re not glued down. There is an element of order, but they’re slightly out of line; this makes it seem more natural, like it should just be there.”
Twin Shelves
Dean Hughes
Twin Shelves

2008

Backing card

15.3 x 34.2 x 6.3 cms






Other artists in
NEWSPEAK: BRITISH ART NOW

Caroline Achaintre    Tasha Amini    Hurvin Anderson    Maurizio Anzeri    Jonathan Baldock    Anna Barriball    Steve Bishop    Karla Black    Lynette Yiadom Boakye    Pablo Bronstein    Alan Brooks    Carla Busuttil    Nicholas Byrne    Gareth Cadwallader    Juliana Cerqueira Leite    Spartacus Chetwynd    Steven Claydon    Clarisse d'Arcimoles    William Daniels    Matthew Darbyshire    Graham Durward    Tim Ellis    Tom Ellis    Richard Evans    Tessa Farmer    Marcus Foster    Robert Fry    Ximena Garrido-Lecca    Jaime Gili    Nick Goss    Luke Gottelier    Kate Groobey    Anthea Hamilton    Anne Hardy    Gabriel Hartley    Nicholas Hatfull    Iain Hetherington    Alexander Hoda    Sigrid Holmwood    Systems House    James Howard    Graham Hudson    Des Hughes    Dean Hughes    Mustafa Hulusi    Paul Johnson    Edward Kay    Idris Khan    Scott King    Ansel Krut    Peter Linde Busk     littlewhitehead    Alastair MacKinven    Goshka Macuga    Ryan Mosley    Rupert Norfolk    Arif Ozakca    Mark Pearson    Dan Perfect    Peter Peri    Olivia Plender    Henrijs Preiss    Ged Quinn    Clunie Reid    Barry Reigate    Luke Rudolf    Maaike Schoorel    Daniel Silver    David Brian Smith    Renee So    Fergal Stapleton    Clare Stephenson    Caragh Thuring    Phoebe Unwin    Donald Urquhart    Jonathan Wateridge    John Wynne    Toby Ziegler

Dean Hughes's BIOGRAPHY

Dean Hughes
1974
Born in Salford, UK
Lives and works in Edinburgh, UK


Education


1993 - 1996
BA (Hons) Fine Art, Chelsea College of Art and Design, London
Lives and works in Edinburgh


SOLO EXHIBITIONS


2010
Sleeper, Edinburgh (forthcoming)

2008
Dicksmith Gallery, London
CUBE, Manchester (with Matthew Houlding)
Cairn, Pittenweem, Fife

2003
Jack Hanley Gallery, San Francisco, USA

2002
38 Langham st. London
Turnpike Gallery, Leigh

2001
Jack Hanley Gallery, San Francisco, USA

2000
International 3, Manchester
Laure Genillard Gallery, London

1998
Gian Carla Zanutti Arte Contemporanea, Milan

1996
Laure Genillard Gallery, London


GROUP EXHIBITIONS


2010
Big Minis, CAPC, Bordeaux/FR * (forthcoming)
Newspeak-British Art Now, Saatchi Gallery, London/UK* (forthcoming)
Boom, Hotel, London
The way we do Art now, Tanya Leighton Gallery, Berlin/DE
Editions, Cairn, Pittenweem, Fife

2009
Boneless Box, Embassy, Edinburgh
In Between the Lines, Recent British Drawings. Trinity Contemporary

2008
Library, UOVO open office, Berlin, curated by Adam Carr
‘Eskimo’, Polarcap, East Lothian/Scotland, UK
Neau Alte Brucke,’Schwarz weiss ausstellung’, Frankfurt/DE
The Arts Gallery, University of the Arts, ‘…the same as it ever was?painting at Chelsea 1990 - 2007’ Curated by Clyde Hopkins London/UK*

2007
Galerie Praxis Hagen, ‘To the centre of the city’, Berlin/DE
Laure Genillard Gallery, ‘Presque Rein’, London/UK

2006
Doggerfisher, ‘Karla Black/Dean Hughes/Duncan Marquiss/Jonathan Owen
Hanneline Visnes’, Edinburgh

2005
Bury Museum and Art Gallery,'The Text', Lancashire Grundy Art Gallery,- Social Club-, Blackpool

2004

Norwich Gallery, 'Living Dust'?, curated by David Musgrave?, Norwich
Jack Hanley Gallery,'Summer Show', San Francisco
Galleri s.e,’ Friday 13th’, Bergen

2003
Jack Hanley Gallery,' 17 Reasons', San Francisco
Temple Bar Gallery, 'Necessary Journeys', Dublin

47 Paul ST, 'Nihilism/Faith', London
Pump House Gallery,'As long as it takes', London

2002
Arcadia University Gallery,'Gestures in Situ', Pennslyvania
The Nunnery,'3X3' London
Trade Apartment,' Plinth', London
Angel Row,'As long as it takes' Nottingham
Richard Salmon Gallery,' New Originals', London

2000
ManMoma, International 3, Manchester
The British Art Show 5', cur. Pippa Coles, Matthew Higgs and Jacqui Poncelet,
Edinburgh
Peeps gallery,'Charlie’s Friends' London
Richard Salmon Gallery,'Points of View I and II' London

2001
Arnolfini/Spike Island, The Silk Purse Procedure, Bristol
Northern Gallery of Contemporary Art,'Nothing', Sunderland Rooseum Center for Contemporary Art,
'Nothing in the Main Hall', Malmö Contemporary Art Centre, 'Nothing', Vilnius

1999
Or Gallery, 'Getting the Corners', cur. Matthew Higgs, Vancouver
Lord Palmerston, ' Spent', London
60 Long Lane,’ Heart and Soul’, UK
Royal College of Art,’ Go Away? Artists and travel’, London

1998
The Approach, A?Z, London

1997
One in the Other,Klarshend, London
Transmission Gallery, 'The unconditioned state of search', Glasgow
Galerie de l'Ancien College, 'Laure Genillard ? Une selection et une collection', Chatellerault
Sandra Gering Gallery,’ Contemporary British Drawing’ New York
Norwich Gallery, 'Imprint 93 ?and other related ephemera?', cur. Matthew Higgs, Norwich

1996
Sainsbury Centre for Visual Arts, 'East International', Norwich
Bund, 'Banana Republic', London