DAVID SLACK

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Monkey Flower

Oil Pastel on Board

Framed and Signed

Image Size  W 20 x H 25.5 cm

£450

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Storm

Oil Pastel on Board

Framed and Signed

Image Size  W 20 x H 25.5 cm

£450

sold

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Penumbra

Oil Pastel on Board

Framed and Signed

Image Size  W 35.5 x H 45.5 cm

£1,200

Understory

Oil Pastel on Board

Framed and Signed

Image Size  W 35.5 x H 45.5 cm

£1,200

sold

sold

The Cat and The Crane
Oil Pastel on Board
Framed and Signed
Image Size  W 33 x H 43 cm

£1,350

Coast

Oil on Panel

Framed and Signed

Image Size

W 20.5 x H 25.5 cm

£600

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sold

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Monkey Crows

Oil Pastel on Board

Framed and Signed

Image Size  W 10 x H 15 cm

£200

Morning Light Abaft

Oil Pastel on Board

Framed and Signed

Image Size  W 17.5 x H 28 cm

£900

sold

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Blockhead in the Wilderness

Oil Pastel on Board

Framed and Signed

Image Size  W 35 x H 35 cm

£1,450

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Joseph Moltedo

Oil Pastel on Board

Vintage Frame and Signed

Image Size  W 28 x H 39 cm

£1,150

Queen B

Oil Pastel on Board

Framed and Signed

Image Size  W 16 x H 16 cm

£450

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Miss Van Pelt at the Enchanted Castle

Oil Pastel on Board

Framed and Signed

Image Size  W 35 x H 35 cm

£1,450

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Those Who Were Left Behind

Oil Pastel on Board

Framed and Signed

Image Size  W 30 x H 306 cm

£1,150

The Hero

Oil Pastel on Board

Framed and Signed

Image Size  W 20 x H 25 cm

£450

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sold

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Blockhead

Oil Pastel on Board

Framed and Signed

Image Size  W 16 x H 16 cm

£450

sold

David Slack

David Slack doesn’t remember a time when he didn’t consider himself a painter. Self-taught and working in oil and oil pastel, he has trained in ceramics and printmaking, silversmithing and stained glass, always interwoven with his painting practice. David has exhibited and sold his work in galleries in London and on the south coast In Rye, Hastings and the Towner Gallery in Eastbourne. 

 

“My paintings aim to breathe fleshy life into warmly remembered childhood icons, and plant them down firmly in disparate landscapes drawn from fragments of art history.”

There is a dreamlike quality to the work - we know these characters well, but they are not quite how we are used to seeing them. A bit less polished perhaps, gritty and corporeal. Sometimes seemingly on the brink of some subtle, unnameable peril, but standing strong regardless. 

The paintings pivot on the idea of invoked feelings of familiarity and unfamiliarity that can be sparked by unexpected emotional contrast, in subject of course, but also in the notion of light and dark, joy and sorrow, layered memory. 

So my body of work is effectively an historical, psychological and emotional collage, and the painting attempts to unify the seemingly discordant ideas into a harmonious and luminous whole.