Dane Lovett’s paintings both embrace and eschew their historical, thematic and allegorical roots. Dark, often mono- or dichromatic and subtly tonal in their palette, they gesture towards syntaxes of minimalism and seriality as resolutely as they do the still life. It is an intriguing dynamic, which expands and further articulates Lovett’s culturally savvy, reference-rich painting practice.
Where earlier works saw the artist construct still life arrangements from indoor plants and pop-cultural ephemera—VHS cassettes, vinyl records, CDs, ageing tech and the like—Lovett’s recent practice has seen him embrace repetition and delicate variation, with an unmistakably reductionist and art historical bent. From recasting French artist Henri Fantin-Latour’s 1864 still life Flowers: Tulips, Camellias, Hyacinths via countless murky, monochromatic iterations, to his serialisation of foxgloves, waterlilies and grasses, a single subject becomes a site for sustained painterly exploration, variation and rhythm.
As the curator and academic Rosemary Forde writes, in Lovett’s Perimeter publish monograph entitled Flowers, the artist’s repetitions ‘each seem to emote uniquely’, and his dark and muddy images allow projections of ‘our own familiar scenes, moments, memories, aspirations, sorrows’. More than many others in the art world, Lovett seems to recognise the fundamentally democratic nature of meaning. His subjects are everything and nothing, laden and null. He offers us a rich framework, only to leave us to our own devices.
Dane Lovett (b. 1984, Sydney) lives and works in Melbourne. He completed a Bachelor of Fine Art at Queensland University of Technology, Brisbane, in 2004 and received a Bachelor of Fine Art Honours (First Class) from Victorian College of Art, University of Melbourne, in 2007, and a Masters of Fine Art from Victorian College of Art, University of Melbourne, in 2016. He has exhibited extensively in Australia and internationally—including solo shows at Colette, Paris, and group shows at the Art Gallery of New South Wales, Sydney—and his work is held in public and private collections in Australia and Europe.
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