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01 Jan 2016

The Slow Boom - Richard Galpin

by Juliana Kreinik for exhibition catalogue

Arranged to evoke the dynamics of a city under construction, Galpin's crawlers feature the materials of post-industrial London...

30 Sep 2013

Financial Muscle - The Work of Richard Galpin

By Robert Wilson for Block Magazine

The source material for these works by Richard Galpin, whose studio until recently was located in the shadow of the Shard, are photographs of the vast construction projects, and glossy, gridded façades of the towers of finance still rising in and around the City of London.

01 Nov 2010

Richard Galpin - Fragmented Finishes

By Michele Robecchi for Fantom Magazine

In the history of modern art the greatest proliferation of artist's writings was during the advent of abstract art. The reason for this is simple. The new art was so radically unlike any expressive form known until then that it became a matter of urgency to give it an identity of its own and to explain the solid theoretical structure behind the apparent jumble of shapes and colours.

09 Jun 2008

Welcome to the Geometric Imaginarium

By Christina Schmid for The Rake

If an exhibition inspires imaginary conversations with William Blake, William Gibson, and Terry Tempest Williams in the same breath, it seems safe to assume that there's something going on: something that just might live up to art's potential to intrigue, confound, and, ever so slightly, alter the way you perceive the work at hand – and, ambitiously, the world at large.

02 Oct 2008

Review of Richard Galpin Elevation at Hales Gallery

By Eugenia Bell for Artforum

It seems appropriate that Richard Galpin apprenticed to a relief woodcarver as a teenager. Since 2001, he has made an intriguing career of chipping away at the urban environment, creating new cityscapes out of panoramic photographs of urban settings (in this exhibition, titled "Revisionary," that setting is London).

The wholesale erasure in his "peeled photographs" belies the delicate nature of the scalpel work that leaves entire blocks of office buildings not just unidentifiable but entirely unrecognizable as photographs.

29 Sep 2008

Preface to Surface to Surface

By Richard Galpin

The first ‘peeled photograph’ works were made from small snapshots of my immediate urban environment in south-east London. Initially particular formal elements were retained, such as shop signs or the windows of 1960’s social housing blocks...

22 Mar 2005

Review of Richard Galpin at Roebling Hall, New York

By Minna Proctor for Art Review

There is a certain exquisite presumption to the act of deleting significant chunks of a busy cityscape - carving for example, empty, truly empty, space into Times Square - as Richard Galpin does in recent works Automaton and Dazzle Camouflage, part of his debut New York solo show at Roebling Hall.

13 Mar 2005

Less is More - The Work of Richard Galpin

by Reena Jana for Art on Paper

In Richard Galpin’s elegant compositions, full of dazzling geometries that suggest fantastical architectural structures, the familiar becomes strange, and the strange familiar. 

01 Feb 1998

Erasure in Art: Destruction, Deconstruction and Palimpsest

By Richard Galpin

My interest in erasure stems from my work as an artist. I am involved in work that deletes various texts, and am excited by the subtle play that erasure seems to create when executed in certain ways. My work is not about the suppression of text, or the negation of what the text represents, but is about obscuring the words in order to create a different relationship between the text and the viewer. 

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