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Danny Fox

Danny Fox (b. 1986, St. Ives of Cornwall, England) blends domestic imagery with influences from his natural surroundings to create eerily striking articulations of the human psyche. Using photography as source material enables Fox to extract the lines, forms, and layers that comprise the simplest rendering of his subjects’ lives and spirits, and to synthesize them to their core essence.

Fox has exhibited internationally at Jeffrey Deitch, Los Angeles, CA; Berggruen Gallery, San Francisco, CA; The Saatchi Gallery, London, UK; Zidoun-Bossuyt Gallery, Luxembourg; and V1 Gallery, Copenhagen, Denmark, among others. Fox lives and works in St. Ives of Cornwall, England.

Exhibitions

Danny Fox: The Sweet and Burning Hills at Alexander Berggruen

DANNY FOX: THE SWEET AND BURNING HILLS
January 12-February 26, 2021

Danny Fox Towednack burial, 2020 oil on canvas 12 x 16 in. (30.5 x 40.6 cm.)

ANIMAL KINGDOM
June 26-August 29, 2020

Installation image of Words (October 11–November 26, 2019)

WORDS
October 11-November 26, 2019

Fox’s canvases use a vibrant array of colors that are tempered, or appear worn down, evoking the shadowy natures of their subjects. A skillful tightrope walker, Fox operates as both observer and participant: on a cellular level, the canvases convey that the artist is deeply intimate with the kind of life, always lived outside the ordinary, that he depicts. At same time, the structures of Fox’s compositions indicate an understanding of the painters and paintings that have come before him. The resulting work exudes a visceral synergy.

Fox’s show at Alexander Berggruen consists of paintings that echo those photos and drawings—an oozing array of opulent canvases organized around solo figures. Mostly female, the characters smoke, they straddle stuffed animals, they clasp their knees in seductive disdain, they eye us with casual contempt, they sprawl out across the floor or invite us to follow them deeper into the canyon.

Taking in the new body of work he’s amassed, I mention to Fox that it feels not unlike a great album, where the work conveys a single moment but also evokes an entire journey. “I always think of shows as albums,” says Fox. “I use that to help encapsulate certain moments and not worry if it’s off brand. I even sometimes think, Ah, shit, I’m making a bad album here. But I also like that feeling—like it’s going to be the ’80s Dylan album that you one day understand.”

Danny Fox House of Pies, 2020 acrylic on canvas 72 x 60 in. (182.9 x 152.4 cm.)

We are pleased to share with you a new essay, “Danny Fox: Feedback Loop of Visual Reference,” written by Kirsten Cave. This essay explores Fox’s collaboration with photographer Kingsley Ifill, the basis for the paintings included in Danny Fox: The Sweet and Burning Hills (Alexander Berggruen, New York, January 12-February 26, 2021).

From the first group of related photographs and drawings in the 19th century to early pornographic postcards to contemporary pop culture, Fox’s new body of work exists in conversation with the rich history of photography’s influence on drawing and painting.

Danny Fox Langley in the Garden, 2020 acrylic on canvas 60 x 72 in. (152.4 x 182.9 cm.)
Eye For A Sty, Tooth For The Roof Danny Fox Kingsley Ifill
Haze Danny Fox Kingsley Ifill
Words Exhibition Catalogue Product Photography
Danny Fox
Izzy with Fishing Boat, 2019
acrylic on canvas
60 x 72 in. (152.4 x 182.9 cm.)
Included in Danny Fox: The Sweet and Burning Hills (January 12-February 26, 2021), Alexander Berggruen, NY.
Danny Fox
Planned Parenthood Waiting Room, 2017
acrylic on canvas
95 x 82 in. (241.3 x 208.3 cm.)
Included in Iconoclasts: Art Out of the Mainstream (September 27 2017-March 6, 2018), Saatchi Gallery, London, UK.
Installation view of Iconoclasts: Art Out of the Mainstream (September 27 2017-March 6, 2018), Saatchi Gallery, London, UK.
Danny Fox
Blood Map, 2019
acrylic on canvas
84 x 72 in. (213.4 x 182.9 cm.)
Included in Words (October 11–November 26, 2019), Alexander Berggruen, NY.
Installation view of Punch (2019), Curated by Nina Chanel Abney, photo courtesy of Joshua White and Jeffrey Deitch.
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