Working across multiple disciplines, Dean Knight constructs open ended narratives that intersperse the primitive, the comedic, the seductive and the grotesque. A self-conscious and tongue-in-cheek take on an obsessive and objectifying male artist is explored, along with the role of the gay man as clown or peripheral deviant.
The utopian languages of Modernism and Minimalism are both revered and disrupted, with forms being pushed to exaggeration and cartoonishly simplified. Ideas of construction and performance are explored through sets, plinths and stages that are furnished with props, but devoid of action. What might have taken place, or is yet to occur is alluded to by an array of cultural symbols including cigarettes, food, clothing, pseudo-relics and sculptural objects, which become ambiguous, fetishised and interchangeable.
Lizzie Lloyd wrote about Dean Knight’s work in an Essay titled ‘Surfacing’
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