Artist Biography:
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David Andrew Lane
PhD University of Edinburgh PhD Central Academy of Fine Arts, China (2020-2022) MFA University of the Arts London Lives and works in London (UK) and Beijing (China) Email: [email protected] Artist Statement / 个人陈述: My recent work involves me as an artist-teacher hosting pedagogical projects with student participants within higher education contexts in the UK and China, where questions and phenomena related to the politics of production in art schools are explored. Here, by enacting participatory projects in and through the authoritative mechanism of 'school,' I aim to complicate imaginary narratives of 'educational empowerment' and 'creative freedom' by revealing the ways in which artistic labor is delegated, incentivized, and quantified within institutional contexts. Taking a social science approach to facilitating workshops, approaches ranging from experimental, absurdist to disorienting are employed as methods of provocation and condensed reflections of real-world phenomena. The 'work' then is intended to go beyond being distilled as an obscure and personalized artistic product or statement and instead becomes social, explicit in its function as a set of pedagogical techniques. Implicating the schooling system and the status of the teacher in participatory projects, the following phenomena related to participation in cultural and academic contexts are addressed: product-oriented participation, participation as alienated labor, non-voluntary participation, participation as conformity, participation as formality, and participation as mass spectacle. |
Portfolio 作品集:
Follow the Teacher, 2022
Explicit title: 'Teaching a Student Body On Mass How to Create an Abstract Expressionist Drawing'
'He is Led'
Explicit title: 'The teacher leads the students to produce a pre-determined product'
'Think 思考'
Explicit title: 'Alienated Labour and Product-Oriented Education'
'Oh Captain, My Captain'
Explicit title: 'From an Abuse of Power to Critical Consciousness?'
'Outsider / Insider'
Explicit title: 'Preaching Contemporary Art to Locals Within a 1920s Living Museum in Shandong, China'
Remixing Contemporary Art - Mustard Seeds Concept
Explicit title: Using AI to remix artworks and create schemes of work for students to quickly make artistic products that look like works of contemporary art
Mustard Seeds Manual of Contemporary Art - Beijing Institute of Fashion and Technology
Children of the Revolution
School Rules and Poems
Family Series 家庭系列
Family series, 2019
This series of works is based on my own experiences as a father in a cross-cultural family. The subject of this series is my son, who is half Chinese and half British. Playing upon stereotypes associated with western and Chinese-style parenting, I seek in this series to create humorous compositions that touch upon the expectations we place upon our chil- dren and the nature of family structure. Exalting my only son on a ladder speaks of a pre- carious kind of privilege and emotional state. When displaying my son as an object, I am interested how his natural unrestrained behavior often is read in the images as attitude. This reveals a kind of expectation we place on our children.
家庭系列, 2019
这一系列的作品是基于我作为一个跨文化家庭的父亲的经历。这个系列的主题是我的儿子, 他一半是中国人,一半是英国人。在玩味西方和中式育儿有关的刻板印象中,我试图在本系 列中创作出幽默的作品,这些作品触及到我们对孩子的期望和家庭结构的本质。在这一系列 中,当我把唯一的儿子放置到梯子顶端,这是一种岌岌可危的特权和情感状态。当我把儿子 作为一个对象展示时,我感兴趣的是,他的自然放纵的行为通常会被解读为一种态度的流露, 同时揭示了我们对孩子的一种期望。
This series of works is based on my own experiences as a father in a cross-cultural family. The subject of this series is my son, who is half Chinese and half British. Playing upon stereotypes associated with western and Chinese-style parenting, I seek in this series to create humorous compositions that touch upon the expectations we place upon our chil- dren and the nature of family structure. Exalting my only son on a ladder speaks of a pre- carious kind of privilege and emotional state. When displaying my son as an object, I am interested how his natural unrestrained behavior often is read in the images as attitude. This reveals a kind of expectation we place on our children.
家庭系列, 2019
这一系列的作品是基于我作为一个跨文化家庭的父亲的经历。这个系列的主题是我的儿子, 他一半是中国人,一半是英国人。在玩味西方和中式育儿有关的刻板印象中,我试图在本系 列中创作出幽默的作品,这些作品触及到我们对孩子的期望和家庭结构的本质。在这一系列 中,当我把唯一的儿子放置到梯子顶端,这是一种岌岌可危的特权和情感状态。当我把儿子 作为一个对象展示时,我感兴趣的是,他的自然放纵的行为通常会被解读为一种态度的流露, 同时揭示了我们对孩子的一种期望。
——梦
Untitled, 2018
Mannequin, black paint, plaster cast hands, school desk and chair Size: 180 x 75 x 103 cm
A student is placed in a position of value upon a pedestal, his efforts are put on display and celebrated as we are given a moment of stillness to consider his life.
‘无题’ 2019
一个学生被放在一个有重要价值的位置上,我们由此获得一个平静的时刻来思考他的生活, 他的努力便被展示出来并被赞扬。
Mannequin, black paint, plaster cast hands, school desk and chair Size: 180 x 75 x 103 cm
A student is placed in a position of value upon a pedestal, his efforts are put on display and celebrated as we are given a moment of stillness to consider his life.
‘无题’ 2019
一个学生被放在一个有重要价值的位置上,我们由此获得一个平静的时刻来思考他的生活, 他的努力便被展示出来并被赞扬。
Flags |
Red Banner Series
One Banner, One Road, 2019
The artist is interested in exploring the theme of art and language. In this series, thoughts and expressions appear in an illegible form. The point of the work is not what the messages have to say, but rather why can’t we read them? The pieces cease to exist as language in a conventional sense, and instead become a visual expression of a situation and a consequence.
‘微观横幅’:
这位艺术家对探索艺术和语言的主题很感兴趣。在本系列中，思想和表达以一种难以辨认的 形式出现。作品的重点不是内容要说什么，而是为什么我们无法读取?这些片段不再以传统 意义上的语言存在，而是成为一种情境的视觉表达，一种因果。
Shown at YanHuang Gallery, Beijing
The artist is interested in exploring the theme of art and language. In this series, thoughts and expressions appear in an illegible form. The point of the work is not what the messages have to say, but rather why can’t we read them? The pieces cease to exist as language in a conventional sense, and instead become a visual expression of a situation and a consequence.
‘微观横幅’:
这位艺术家对探索艺术和语言的主题很感兴趣。在本系列中，思想和表达以一种难以辨认的 形式出现。作品的重点不是内容要说什么，而是为什么我们无法读取?这些片段不再以传统 意义上的语言存在，而是成为一种情境的视觉表达，一种因果。
Shown at YanHuang Gallery, Beijing
Paper Plinth
'All Paper is Equal...' 2019
Materials:Stack of A3 Paper Size: 300 x 420 x 297 mm
This work is composed of a stack of A3 paper that has been cut into a shape that resembles that of a traditional plinth. Each piece of paper has the same value, but the piece displayed on top of the pile is symbolically presented as more valuable than the rest.
‘所有的纸都是平等的...’
作品是由一叠被切割成一个类似于一个传统的基座的形状的A3打印纸制成。每一张纸都有
相同的价值，但展示在堆顶上的那一张纸却象征着比其他纸更重要的价值。
Materials:Stack of A3 Paper Size: 300 x 420 x 297 mm
This work is composed of a stack of A3 paper that has been cut into a shape that resembles that of a traditional plinth. Each piece of paper has the same value, but the piece displayed on top of the pile is symbolically presented as more valuable than the rest.
‘所有的纸都是平等的...’
作品是由一叠被切割成一个类似于一个传统的基座的形状的A3打印纸制成。每一张纸都有
相同的价值，但展示在堆顶上的那一张纸却象征着比其他纸更重要的价值。
Social Sculpture
Two Sessions 两会, 2019
Found chairs in the social space
Found chairs in the social space
（UK practice）Monument Series 纪念碑系列
Anti Social, 2016
Refuse Wood, cast bronze, bolt croppers,
380 x 150 x 150 cm
(Now in the Saatchi collection)
This work depicts a young hooded man cast of bronze on a monument made of refuse wood. The man is holding a pair of bolt croppers in his hand, which is a tool used to break into locks. The meaning of the work should be considered in relation to existing public sculptures in the UK, which include monuments for war generals, politicians, celebrities, colonialists - etc. The purpose of the work is to raise the question: what is the social function of public sculpture?
Anti Social 2016 （于英国伦敦萨奇馆藏）
废木材，铸铜，钢筋钳,
380×150×150厘米
这个由废木料做的纪念碑基石上的铜塑作品，描绘了一个穿着帽衫的年轻人。这个人手持钢筋钳这种破锁工具。作品的含义应被视为与现有的英国公共雕塑有之关联，其中包括战争将军、政治家、名人、大殖民者的纪念碑等。作品的目的是提出一个问题：公共雕塑的社会功能是什么？
（UK practice）Museum Series 博物馆系列
Marginal Museum, 2017
Installation consisting of 6 sculptural vitrines.
Materials: Refuse wood, glass, tarpaulin, duct tape, grip fill adhesive, black felt, found objects.
The marginal museum is a handmade museum, made of impoverished looking materials so as to create a deliberate contrast to that of the usual pristine presentation used by ordinary museums. The artefacts within the museum are all found objects, which have been sourced from the streets of London. The descriptions of the objects are completely fictional, but are very much in touch with real life events.
边缘博物馆，2017年
装置包括6个陈列用玻璃橱窗雕塑
废木料，玻璃，防水布，管道胶带，握把填缝胶，黑色毛毡，拾得物品
边缘博物馆是一个手工制作的博物馆，由看起来贫破的材料制成，意在与正常博物馆通常使用的一尘不染的展品形成对比。博物馆内的“文物”都是从伦敦街头拾到的，这些物品的描述完全是虚构的，但与真实事件有很大的关联。
（UK practice）Gallery Series 画廊系列
White Shed Gallery, 2018 - present,
adjacent to the Stanley Picker Gallery, London.
Materials:Wood, white paint, wood effect floorboards, fluorescent strip lights, website, glossy posters and gallery book.
Size: 10 x 16 ft
Dealing with the roles and practices of the contemporary art institution, I established the ‘White Shed Gallery’. Consisting of an ordinary 10x16ft garden shed, decorated inside as a pristine white cube space, the White Shed Gallery - through its own branding, website and false representation - presented itself as a legitimate and authoritative institutional structure. Housed within the sculpture yard of an actual London Art Institute – The Stanley Picker Gallery – The White Shed purposefully contrasted itself against the dominance of this major cultural body through declaring and branding itself as a separate and autonomous art establishment.
The poster above displays a wheelbarrow - a garden tool commonly stored in a shed in its transformed state, as an art object.
白棚画廊，2018年-至今
毗邻有名的伦敦斯坦利·皮克画廊
10 x 16英尺
木材，白色涂料，仿木地板，荧光灯条，网站，亮面海报和画廊书籍。
在与当代艺术机构的角色和实践相处过程中，我建立了“白棚画廊”。这是由一个普通的10x16英尺的简易花园棚屋组成的，内部装饰成一个一尘不染的的白色立方体空间，’白棚画廊’-通过其自己的品牌、网站-展示了自己作为一个合法和权威的机构的结构。这个坐落在伦敦一个艺术机构 - 斯坦利·皮克画廊雕塑院内的白色小棚屋 - ‘白棚画廊’，通过宣称和标榜自己是一个独立的、自主的艺术机构，有意将自己与这一主要文化机构的主导地位进行对比。
画廊海报中展示了一个独轮车的 - 通常存放在棚屋中的园艺工具，在这里转换成了一件艺术品。
adjacent to the Stanley Picker Gallery, London.
Materials:Wood, white paint, wood effect floorboards, fluorescent strip lights, website, glossy posters and gallery book.
Size: 10 x 16 ft
Dealing with the roles and practices of the contemporary art institution, I established the ‘White Shed Gallery’. Consisting of an ordinary 10x16ft garden shed, decorated inside as a pristine white cube space, the White Shed Gallery - through its own branding, website and false representation - presented itself as a legitimate and authoritative institutional structure. Housed within the sculpture yard of an actual London Art Institute – The Stanley Picker Gallery – The White Shed purposefully contrasted itself against the dominance of this major cultural body through declaring and branding itself as a separate and autonomous art establishment.
The poster above displays a wheelbarrow - a garden tool commonly stored in a shed in its transformed state, as an art object.
白棚画廊，2018年-至今
毗邻有名的伦敦斯坦利·皮克画廊
10 x 16英尺
木材，白色涂料，仿木地板，荧光灯条，网站，亮面海报和画廊书籍。
在与当代艺术机构的角色和实践相处过程中，我建立了“白棚画廊”。这是由一个普通的10x16英尺的简易花园棚屋组成的，内部装饰成一个一尘不染的的白色立方体空间，’白棚画廊’-通过其自己的品牌、网站-展示了自己作为一个合法和权威的机构的结构。这个坐落在伦敦一个艺术机构 - 斯坦利·皮克画廊雕塑院内的白色小棚屋 - ‘白棚画廊’，通过宣称和标榜自己是一个独立的、自主的艺术机构，有意将自己与这一主要文化机构的主导地位进行对比。
画廊海报中展示了一个独轮车的 - 通常存放在棚屋中的园艺工具，在这里转换成了一件艺术品。
（UK practice）Commercial Institution 商业机构系列
A Stage For Crime, 2017
Installation consisting of: shop front, ATM machine, CCTV system, Advertisement videos on screens.
Materials: Wood, electrical tape, tarpaulin, TV screens, 10,000 pounds cash, smart- phones.
街头剧场,2017年
装置作品包括:自制店面、自制ATM机、闭路电视监控 系统、广告视频 材料:木材,电工胶带,防水布,电视屏幕,1万英镑 现金,智能手机
This work is a reconstruction of a real life street scene, including a shop front presenting real smartphones (valuable at the time), an ATM machine tted with a real burglar alarm, and displaying 1,000 pounds cash, handmade video advertisements, and a CCTV system. The work is inviting crime through enticing people with commodities and cash, whilst at the same time protecting itself against crime through the CCTV system.
这个项目是对真实街头场景的重建,包括一个展示真实智能手机(当时很值钱)的店面、一 台自己搭建的配备真正防盗警报器的ATM机、1000英镑现金、自制的视频广告和一个闭路电 视监控系统。这个作品是通过商品和现金诱惑人们来引诱犯罪,同时通过闭路电视系统保护 自己免受罪犯侵害。
从自制的广告片段中可以看到ipad是如何被用来玩电子游戏的,比如《侠盗猎车手》 (Grand Theft Auto)—一个玩家可以在其中获得一个安全、想象的空间的游戏,在这个空 间里他们可以自由盗窃闯入汽车并犯下各种罪行。
Installation consisting of: shop front, ATM machine, CCTV system, Advertisement videos on screens.
Materials: Wood, electrical tape, tarpaulin, TV screens, 10,000 pounds cash, smart- phones.
街头剧场,2017年
装置作品包括:自制店面、自制ATM机、闭路电视监控 系统、广告视频 材料:木材,电工胶带,防水布,电视屏幕,1万英镑 现金,智能手机
This work is a reconstruction of a real life street scene, including a shop front presenting real smartphones (valuable at the time), an ATM machine tted with a real burglar alarm, and displaying 1,000 pounds cash, handmade video advertisements, and a CCTV system. The work is inviting crime through enticing people with commodities and cash, whilst at the same time protecting itself against crime through the CCTV system.
这个项目是对真实街头场景的重建,包括一个展示真实智能手机(当时很值钱)的店面、一 台自己搭建的配备真正防盗警报器的ATM机、1000英镑现金、自制的视频广告和一个闭路电 视监控系统。这个作品是通过商品和现金诱惑人们来引诱犯罪,同时通过闭路电视系统保护 自己免受罪犯侵害。
从自制的广告片段中可以看到ipad是如何被用来玩电子游戏的,比如《侠盗猎车手》 (Grand Theft Auto)—一个玩家可以在其中获得一个安全、想象的空间的游戏,在这个空 间里他们可以自由盗窃闯入汽车并犯下各种罪行。
（UK practice）Commemorative Plaque 纪念牌匾系列
Blue Plaque, 2018
Handmade blue plaque, placed above a bench in Tooting Broadway, London.
Materials: Fired ceramic, blue and white paint, glaze. strip lights, website, glossy posters and gallery book.
Size: 40 x 40 cm,
This work commemorates the life of a local homeless man and drug addict who lived on a bench in South London. My placing this subject in a posi- tion of importance is not so much because I am saying that this character should be, or deserves to be commemorated, but rather my interest is more in how this such character reveals the social function and reverence we place on these kinds of value giving structures.
蓝色纪念牌匾,2018年
伦敦 , 40x40 厘米,材料:烧制陶瓷,蓝、白颜料,釉
这个蓝色纪念牌匾作品纪念了一个住在伦敦南部的一条长凳上的当地瘾君子 流浪汉的一生。我把这个话题放在一个重要的位置,不是因为我在说这个角 色应该被,或者值得被纪念,而是因为我更感兴趣的是这个角色是如何揭示 我们将这些社会功能与尊严放在赋予价值的构成物上的。
（UK practice）Newspaper Series 报纸系列
Capitalism and Schizophrenia, 2019
Materials: Real Newspaper, red pen.
Size: (280x420mm)
报纸 , 2019年
材料:真正的报纸,红笔, 208x420毫米
Materials: Real Newspaper, red pen.
Size: (280x420mm)
报纸 , 2019年
材料:真正的报纸,红笔, 208x420毫米
（UK practice）Rewriting History Series:
Opulence, Power & Exploitation: British Still Life Paintings & colonial India
艺术史系列
Art History - Dead Standing Things Gallery Booklet, 2019
Tate Britain Gallery, UK.
This artwork is a piece of writing made into a gallery booklet. It tells of sto- ries related to the dark history behind some of Britain’s cherished still life paintings of the 17&1800s. Highlighted above is an exert from one of the essays, which draws a poignant relationship between the artwork’s por- trayal of dead game and the history of the British colonial forces’ seizure of property and artefacts from the native people of India.
艺术史-Dead Standing Things画廊小册子, 2019
英国伦敦泰特美术馆,
这是一篇写成画廊小册子的作品。它讲述了17世纪英国一些珍贵的静物绘画 背后相关的黑暗历史故事。文中标出的是一篇文章中的内容，它勾勒出了与 英国殖民势力夺取财产和从印度本土人民手中夺取财产的历史之间相当密切 的关系。
Exert from booklet below (Information edited by the artist has been highlighted):
Tate Britain Gallery, UK.
This artwork is a piece of writing made into a gallery booklet. It tells of sto- ries related to the dark history behind some of Britain’s cherished still life paintings of the 17&1800s. Highlighted above is an exert from one of the essays, which draws a poignant relationship between the artwork’s por- trayal of dead game and the history of the British colonial forces’ seizure of property and artefacts from the native people of India.
艺术史-Dead Standing Things画廊小册子, 2019
英国伦敦泰特美术馆,
这是一篇写成画廊小册子的作品。它讲述了17世纪英国一些珍贵的静物绘画 背后相关的黑暗历史故事。文中标出的是一篇文章中的内容，它勾勒出了与 英国殖民势力夺取财产和从印度本土人民手中夺取财产的历史之间相当密切 的关系。
Exert from booklet below (Information edited by the artist has been highlighted):
（UK practice）Rewriting History:
Britain's shady wartime detention centre and interrogation methods
History of Fort Fareham, 2017
900 x 600mm, large scale sheet aluminium print, mount-ed on 1200x660mm wooden frame, green weatherproof paint, steel fixing hooks.
英格兰Fareham碉堡的历史，2017年
安装在1200 x 660毫米木质框架上的900 x 600毫 米大尺寸铝版印刷，绿色室外漆，固定钢钩
In a project involving me dealing with the history of ‘Fort Fareham’ – a nationally protected naval fort on Portsmouth’s Historic coastline – I created a series of dummy information-boards, replicating the design of the existing signage, but offering an alternative (but true) history for the site. This work was created with the approval of Arts Council England as a temporary art project lasting a maximum of 1 week.
我在一个涉及“Fareham碉堡” - 一座位于海岸线上国家保护的海军堡垒的历 史项目中 - 创造了一系列的虚拟信息 - 告示牌的设计仿造了现有的标识系统， 但为网站提供了另一种(但却是真实的)历史。该作品是在Arts Council Eng- land(英国艺术委员会)的批准下创作的，作为一个临时的艺术项目，持续时 间为1周。
900 x 600mm, large scale sheet aluminium print, mount-ed on 1200x660mm wooden frame, green weatherproof paint, steel fixing hooks.
英格兰Fareham碉堡的历史，2017年
安装在1200 x 660毫米木质框架上的900 x 600毫 米大尺寸铝版印刷，绿色室外漆，固定钢钩
In a project involving me dealing with the history of ‘Fort Fareham’ – a nationally protected naval fort on Portsmouth’s Historic coastline – I created a series of dummy information-boards, replicating the design of the existing signage, but offering an alternative (but true) history for the site. This work was created with the approval of Arts Council England as a temporary art project lasting a maximum of 1 week.
我在一个涉及“Fareham碉堡” - 一座位于海岸线上国家保护的海军堡垒的历 史项目中 - 创造了一系列的虚拟信息 - 告示牌的设计仿造了现有的标识系统， 但为网站提供了另一种(但却是真实的)历史。该作品是在Arts Council Eng- land(英国艺术委员会)的批准下创作的，作为一个临时的艺术项目，持续时 间为1周。
Exhibitions:
教育背景:
Fine Art & Education (Masters) (Sept 2012 – Sept 2013) 当代艺术(硕士) University of the Arts London 伦敦艺术大学
Fine Art (BA Honors) (Sept 2009 – June 2012) – First Class Honors 当代艺术(荣誉学 士) Kingston University 伦敦金士顿大学
部分展览:
2018 Border Crossing, Manchester Contemporary Art Gallery, UK 曼彻斯特当代艺术 画廊
2017 Art Out of the Mainstream, The Saatchi Gallery, London 萨奇画廊，伦敦
2016 Art Nova 100, Beijing Agricultural Exhibition Center, Beijing 青年艺术100，北京
2016 Art Performance Festival, Space Gallery, 798 Art District, Beijing Open国际行为艺术节，北京
2014 Young Gods, The Griffin Gallery & Charlie Smith Gallery, London (http://charlie- smithlondon.com/projects/young-gods-14/) 年轻的神，格里芬画廊&查理·史密斯画廊，伦 敦
2014 New Contemporaries, Institute of Contemporary Art, London (shortlisted) 2013 Dead Standing Things: Information Booklet Re-contextualising an Exhibition of
British Still Life's, Tate Britain, London (Exhibition found at: http://www.tate.org.uk/whats-on/tate-britain/display/focus-dead-standing-things-still-life- 1660-1740, artwork booklet found: http://www.york.ac.uk/media/historyofart/ccc/docu- ments/Dead_Standing_Things%20Final%20version %20with%20revisions%203%207%2012.pdf - a per artists website)
2013 Chelsea MA Degree Show, Chelsea College of Art, London (http://showtime.art- s.ac.uk/davidlane)
2013 Art in Your Park, Nottingham City Park (http://www.nottingham.ac.uk/home/events/ art- in-your-park.aspx)
PUBLIC ARTWORKS 公共艺术
2016 Holy Mountain, Isle of Wight, England
2013 Art in Your Park, Nottingham City Park (http://www.nottingham.ac.uk/home/events/art-in-your-park.aspx)
2012 Dummy Historical Signboards, Fort Fareham, Portsmouth Historic Dockyard 2011 Nelson Rodgers Memorial Fountain, Wandle Park, London
COLLECTIONS 收藏机构与组织
The Saatchi Collection 萨奇画廊馆藏British Arts Council 英国艺术理事会Charlie Smith Gallery 查理·史密斯画廊
Chelsea College of Art Special Collection 切尔西艺术学院特别收藏
Fine Art & Education (Masters) (Sept 2012 – Sept 2013) 当代艺术(硕士) University of the Arts London 伦敦艺术大学
Fine Art (BA Honors) (Sept 2009 – June 2012) – First Class Honors 当代艺术(荣誉学 士) Kingston University 伦敦金士顿大学
部分展览:
2018 Border Crossing, Manchester Contemporary Art Gallery, UK 曼彻斯特当代艺术 画廊
2017 Art Out of the Mainstream, The Saatchi Gallery, London 萨奇画廊，伦敦
2016 Art Nova 100, Beijing Agricultural Exhibition Center, Beijing 青年艺术100，北京
2016 Art Performance Festival, Space Gallery, 798 Art District, Beijing Open国际行为艺术节，北京
2014 Young Gods, The Griffin Gallery & Charlie Smith Gallery, London (http://charlie- smithlondon.com/projects/young-gods-14/) 年轻的神，格里芬画廊&查理·史密斯画廊，伦 敦
2014 New Contemporaries, Institute of Contemporary Art, London (shortlisted) 2013 Dead Standing Things: Information Booklet Re-contextualising an Exhibition of
British Still Life's, Tate Britain, London (Exhibition found at: http://www.tate.org.uk/whats-on/tate-britain/display/focus-dead-standing-things-still-life- 1660-1740, artwork booklet found: http://www.york.ac.uk/media/historyofart/ccc/docu- ments/Dead_Standing_Things%20Final%20version %20with%20revisions%203%207%2012.pdf - a per artists website)
2013 Chelsea MA Degree Show, Chelsea College of Art, London (http://showtime.art- s.ac.uk/davidlane)
2013 Art in Your Park, Nottingham City Park (http://www.nottingham.ac.uk/home/events/ art- in-your-park.aspx)
PUBLIC ARTWORKS 公共艺术
2016 Holy Mountain, Isle of Wight, England
2013 Art in Your Park, Nottingham City Park (http://www.nottingham.ac.uk/home/events/art-in-your-park.aspx)
2012 Dummy Historical Signboards, Fort Fareham, Portsmouth Historic Dockyard 2011 Nelson Rodgers Memorial Fountain, Wandle Park, London
COLLECTIONS 收藏机构与组织
The Saatchi Collection 萨奇画廊馆藏British Arts Council 英国艺术理事会Charlie Smith Gallery 查理·史密斯画廊
Chelsea College of Art Special Collection 切尔西艺术学院特别收藏
Contact:
Email: [email protected]
WeChat: davidandrewlane
