Dodds is a painter of still lifes, a tradition that requires the painter to paint objects set up expressly for the purpose of painting. But his are no ordinary objects, they are abject bits of stuff thrown together ‘as if’ they were objects. Others who indulge in this practice include the painters Ivan Seal and Jonny Green. The abjection of these models neither precludes their individuality nor potential for expression. Not for public consumption, such models escape the pelican only when in painted form. Then, with nothing else to go on, the viewer has no other option but to be drawn into the mysterious transmutational process of base paint with abject material that is recorded at its surface. It is now here that the painted model becomes subject to, what Nicholas Davey terms, “hermeneutic ambushes”, interpretations that the artist could neither have envisaged or foreseen. But back in the pelican, having had their moment, the models themselves are no longer of consequence; they await either extinction or reincarnation.

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