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.
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.