Darren Wardle‘s paintings are bright and dystopian and evoke a sort of futuristic unease. There are disruptions within the formal elements of his pieces, like dripping, smeared, or seeming explosions of bright colored paint that call attention to the instability of form. I am drawn to the technical skill of the buildings’ architectures contrasted with the artificiality captured with the use of the saturated, day-glo color palette. Wardle is from Australia, but it was during his residency in Los Angeles that he became inspired by the city’s landscape, and created these stunning pieces.
According to Art Collector, Wardle says his work is “meant to be both beautiful and terrible…My work is basically what I see, taken to an extreme. I’m always looking at things through a dystopian prism, but I’m hoping it won’t turn out that way.” His artist statement elaborates, “The points where analog and digital technology meet in painting are similar to where the natural and the synthetic meet in our everyday experience of constructed space. The structural disintegration, or renovation, deployed in my work embodies a generalized anxiety about architecture under threat from an unspecified force, be that natural or man-made.” Of his portrait painting series titled “Head Case,” Wardle explains, “There is a connection between the psychological interior and representations of interior space. At a subconscious level the room is a projection of our own skin and is a metaphor for the interior self.”