January 27, 2019


If you are in NYC this week, I'd be pleased to meet you at the opening of my solo show at RICHARD, located on Lower East Side's Orchard Street, just north of Delancey.

I was asked to write up a statement. Writing at length without a leash is easy... for me. Writing a tight two short paragraphs on your own work is tough slogging... for me.

Here's my shot. I treated it like chopping wood.


For over twenty years, Dennis Hollingsworth has been searching for the extents of embodied paint. Within the limits of the surface tension of impasto, his recombinant lexicon of form involving prickly balls, stamps, stomps, flings, prints, and flowering peels of paint is screened and sheared through images of nature, text and the broken technological screen. In the past year and a half, he has extended the facture of paint to the facture of the support. Following what he considers Robert Ryman's unfinished project of considering the whole of a painting as eligible for expression from the surface to the mounting to the wall and wary yet inspired by Donald Judd's rebellion against the rectangular plane "...it limits and determines the arrangement of whatever is on or in it...", Hollingsworth has extended his exploration to the architectonic plastic possibilities of wood, wire, screws and glue. Louis Kahn famously asked a brick what it wanted to be, and Hollingsworth has let painting be anything it wants to be... between the limited and limitless possibilities of the medium.

The diversity of his painting practice is mirrored in the diversity of his experience. Born in Madrid, Spain, his childhood was spent in eleven locations around the world, including Philippines, Panama, and Las Vegas. Once a sailor in the South Pacific and Indian Oceans, always an architect by way of his first degree, he is a graduate of the Claremont Graduate University in Southern California. He lives and works in NYC and summers in Tossa de Mar, Spain's Catalan Costa Brava.

Posted by Dennis at January 27, 2019 10:04 PM

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