Selected works by Dominic McGill

Dominic McGill


Graphite and collage on paper mounted on canvas

198 x 198 cm

Dominic McGill’s works wear their extensive research on their sleeves. Using surfaces that range from wall-height enclosures to resin and gesso sculpture in intestinal loops and folds, his drawings combine collaged elements, drawn imagery, and, above all, a wild profusion of text deriving from a range of sources.
Architectural in scale, McGill’s works envelop the viewer, generating an overwhelming sense of unbridled cerebration, as images beget text and vice versa. We’re in the eye of the brainstorm.

Dominic McGill
Not a Plan Has Gone Astray


Graphite, collage on paper

132 x 167.5 cm
Dominic McGill
He Results As Cause Of Himself


Aqua-Resin, gesso, graphite, steel, wood, glass, linen

101.6 x 145 x 73 cm

The scale of his works might hint at McGill’s purpose: to create a kind of contemporary history painting, in the knowledge of such a project’s anachronism. As the artist puts it, “history is politics by other means”, and his caution about the partiality of historical certainties is reflected in his perpetually self-critical and contradictory works. Quotations from Christian texts run up against lines from Marxist screeds; common clichés abut fragments of political speeches.

Dominic McGill


Graphite on paper, mounted on linen (with Dr. Murat Cem Menguc)

203.2 x 630 cm

In McGill’s evocation of contemporary uncertainty, everything is equally noisy and equally suspect. In Moloch, a collaged transcription of Max Ernst’s 1937 The Angel of the Hearth (his nightmarish vision of German society under Nazi rule), the galumphing devil is composed of snippets of found photographs that suggest a dystopian contemporary deity, an updated version of the Biblical Moloch, a false idol. Yet there are no absolutes in McGill’s work, and his texts’ occasional reversal implies the potential for contradictory meaning at every turn.

Text by Ben Street

Dominic McGill's Biography

Dominic McGill
Born in 1963, England
Lives and works in Brighton, UK


Middlesex Polytechnic B.A. Fine Arts

Chelsea School of Art M.A. Fine Arts


FuturePerfect, Derek Eller Gallery, New York, NY

Derek Eller Gallery, New York, NY (project room)

Project for a New American Century, Derek Eller Gallery, New York, NY

Tomorrow, Debs and Co., New York, NY


Black Mirror: Art as a Social Satire, Saatchi Gallery, London, UK

On the Move: A Century of Crossing Borders, Los Angeles County Museum of Art, Los Angeles, CA

Ametria, Benaki Museum, DESTE Foundation for Contemporary Art, Athens, Greece

Between the Lines, All Visual Arts, London, UK
Paper, Saatchi Gallery, London, UK

Hoodoo Eternity, Aeroplastics contemporary, Brussels, Belgium
Left, Right and Center: Contemporary Art and the Challenges of Democracy, Graham Gund Gallery. Kenyon College, Ohio

How to Philosophize with a Hammer, White Box, New York, NY
Keith Mayerson and Dominic McGill, Derek Eller Gallery, New York, NY
Drawn To Disaster, Institute Of Contemporay Art, Maine College Of Art, Portland, ME

Olbricht Collection: Lebenslust and Totentanz, Kunst Halle, Krems, Austria
A Torrent of Words: Contemporary Art and Language, Kohler Art Center, Sheboygan, WI
C’est la Vie: Vanitas from the 15th-21st Century, Musee Maillol, Paris, France
The Power of Paper, Saatchi Gallery, London, UK (forthcoming)

Opportunities, Bravin Lee Programs, New York, NY
Sight Mapping, Herter Gallery, University of Massachusetts, Amherst, MA

Political Corect, BFAS Blondeau Fine Art Services, Geneva, Switzerland
Project for a New American Century, curated by Randi Hopkins, Rose Art Museum,
Brandeis University, Waltham, MA
The Flight of Fake Tears: Large Narrative Drawing, Inova (Institute of Visual Art), Peck
School of the Arts, University of Wisconsin-Milwaukee, Milwaukee, WI
In the Beginning, University Art Gallery UCSD, San Diego, CA
The Other Mainstream II, Arizona State University Art Museum. Tempe, AZ

In My Solitude, Aeroplastics Contemporary, Brussels, Belgium
Don’t Look, Davis Museum and Cultural Center, Wellesley College, Wellesley, MA
Next Wave Art, curated by Dan Cameron, Brooklyn Academy of Music, New York, NY
Landscape (Distance and Removal), Württembergischer Kunstverein, Stuttgart, Germany
International Language, Holter Museum of Art, Helena, MT
Cosmologies, James Cohan Gallery, New York, NY

Art on Paper 2006, Weatherspoon Art Museum, Greensboro, NC
Block Party: An Exhibition of Drawings, Daniel Weinberg Gallery, Los Angeles, CA
Summer Group Exhibition, Derek Eller Gallery, New York, NY
Kamp K48, curated by Scott Hug, John Connelly Presents, New York, NY
Panic Room, works from the Dakis Joannou Collection, curated by Kathy Grayson and
Jeffrey Deitch, DESTE Foundation, Athens, Greece
Blessed are the Merciful, curated by Jerome Jacobs, Feigen Contemporary, New York, NY
Inaugural Group Exhibition, Derek Eller Gallery, New York, NY

Looking at Words: The Formal Presence of Text in Modern and Contemporary Works on
Paper, Andrea Rosen Gallery, New York, NY
Oracle of Truth, Aeroplastics Contemporary, Brussels, Belgium
Labyrinths: Jan Mancuska, Dominic McGill, Alyson Shotz, David Winton Bell Gallery,
Brown University, Providence, RI
Greater New York 2005, P.S.1 Contemporary Art Center, Long Island City, NY
The Art of Aggression, curated by Jean Crutchfield & Robert Hobbs, Reynolds
Gallery, Richmond, VA (traveling)

Democracy Was Fun, White Box, New York, NY
A More Perfect Union, The Renaissance Society, Chicago, IL
Contemplating War, Johnson County Community College, Overland Park, KS
Pencil Me In, Geoffrey Young Gallery Great Barrington, MA
Building the Unthinkable, curated by Christian Stayner, Apex Art, NY, NY
Pop Agenda, Installation with Siemon Allen, Fusebox, Washington, DC

The World’s a Mess, It’s in My Kiss, Debs and Co., New York, NY
B List, Hallwalls, Buffalo, NY*
Futuribles, Arco’03, Madrid, Spain