b.1939
Patrick Hughes
Patrick Hughes, celebrated for his paintings and wall reliefs, offers a playful exploration of art history and perception. Central to his artistic innovation is the concept of "reverspective," a term he coined to describe reverse perspective. Hughes' process begins with crafting pyramid- or wedge-shaped blocks from wood, which he arranges into ridged panoramas. Within these structures, he intricately paints scenes ranging from interior spaces like museum galleries adorned with iconic artworks, to expansive landscapes and bustling city vistas.
The magic of Hughes' artwork lies in its optical illusions: protruding elements of the relief appear to recede into the background, while recessed parts seemingly leap forward. As viewers move around these pieces, the compositions dynamically shift and appear to animate, creating an engaging visual experience that challenges traditional notions of perspective and depth perception.
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Who is Patrick Hughes?
Patrick Hughes, a distinguished British artist based in London, is renowned for his ground-breaking work in "reverspective." Born in Birmingham, England, in October 1939, Hughes held his first exhibition in 1961 and created his inaugural reverspective piece, "Sticking-out Room," in 1964. His original painted reliefs delve into optical illusions, the science of perception, and the essence of artistic representation.
Hughes has authored and compiled three books exploring the visual and verbal rhetoric of paradoxes and oxymorons. Additionally, he has produced numerous editions of screen prints and continues to expand his repertoire with multiples.
As the originator of reverspective, Patrick Hughes stands as a trailblazer in this art form. His three-dimensional artworks employ optical illusions in a unique manner, challenging viewers to reconsider their perceptions of perspective and visual interpretation.
Patrick Hughes made his debut in the art world with his first solo exhibition at the Portal Gallery in London in 1961, marking a significant moment as the inaugural one-man show by an artist later associated with Pop Art, even though the term was not yet in common usage. A pivotal shift in Hughes' career came a few years later when he created two groundbreaking works in reverse perspective: "Infinity" and "Sticking-out Room."
During the 1970s, Hughes gained widespread recognition for his rainbow paintings, which swiftly became popular not only as prints but also as postcards. While these works delighted audiences as decorative pieces, for Hughes, the rainbow symbolized a profound and enduring experience.
Patrick Hughes Reverspective
Patrick Hughes introduced his first reverspective painting in 1964 and revisited the concept in the late 1980s. These artworks, crafted in oil on board with two, three, or four projecting ends, employ forced and reverse perspective to create the illusion of movement. Each piece is punctuated by Hughes' trademark blue skies.
Hughes' painted reliefs consistently astound viewers, challenging preconceived notions about visual perception. As observers approach what appears to be a flat painting, it unexpectedly projects outward, creating a disorienting and dynamic experience. This playful manipulation of perspective not only confounds but also invites reflection on the nature of reality and how our minds interpret what we see.
Hughes' illusions, while bewildering, serve a deeper purpose: they engage viewers in an interactive exploration of paradox. Rather than merely describing paradoxical concepts, his art allows us to actively experience and contemplate them. By doing so, Hughes prompts us to reconsider our cognitive processes and our relationship to reality.
Hughes' influential work is featured in esteemed public collections including Tate, the Victoria & Albert Museum, and the British Council, affirming his enduring impact on contemporary art and perception.
Patrick Hughes' Reverspective works are also available as Multiples. These pieces are meticulously crafted with a multi-step process that combines traditional painting techniques with digital assembly.
Initially, Hughes paints the main themes, bottom planes, and skies or ceilings separately in oil on flat paper. These individual elements are then digitally duplicated and hand-assembled onto board constructions. The final touch involves hand-finishing, where high-quality digital prints on archival paper are carefully collaged onto trapezoidal shapes. Hughes meticulously paints the top and bottom surfaces as well as any water reflections by hand, imparting each collage with a unique artistic character.
This meticulous process ensures that each Multiples artwork retains the essence of Hughes' original Reverspective concept while allowing for broader accessibility and reproducibility. Through this method, Hughes continues to intrigue and engage audiences with his innovative approach to perspective and illusion in art.
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