Alex Dipple (b. 1967, London) studied Alternative Practice, later titled Fine Art Critical Practice, which was the first Conceptual Fine Art Media degree in the UK, at Brighton Polytechnic in the 1980s. In 2016, she graduated with Distinction as a Master of Fine Art from Central Saint Martins, University of the Arts London.
Initially, Dipple was captivated by conceptual theory and forged a practice in the gaps around newspaper texts and the architecture of the page, seeing the “news” as embodying an “everyday” that unfolded in front of her. This methodology allowed the artist to highlight narrative control within textual details often hidden in plain sight. This approach became stifling over time, prompting a period of self-reflection.
After reassessing her practice, Dipple turned to painting, drawing inspiration from a diverse array of source materials. Her explorations involve a constant pre-loading of images, objects, and ideas that interest her. She has a restless and inquisitive mind that leads her on meandering forays into the internet, browsing auction catalogues, museum archives, and galleries, following ribbons of thought through fail videos, silent film archives, and obscure photography sites. Standing stones, Suiseki (Viewing Stones), Picasso ceramics, and blue-and-white porcelain form rich areas of focus in her world.
In her paintings, Dipple evokes the complexities of online experiences, full of ghosts and monsters in a metaphorical sense, while embracing a fast and spontaneous process. This dynamic shifts her focus away from the intricate details of previous work, allowing for playful integration of motifs and visuals. Underpinning everything, formal concerns weave through the work. Stripes and holes are recurring ticks. Phenomenal effects, smoke, light, and shadows pop up frequently. Pictorial motifs are playfully laid out, and art historical genres and stylistics are also treated like signs to deploy. Each painting encapsulates a moment from the ideas in her head; the best offer a restless, forward movement of ideas that tap into collective experiences.
Her works have been exhibited internationally in Canada, Germany, the USA, and the UK; featured in printed publications such as “The Word Is Art” by Michael Petry and “OFFPRINT” published by TATE Modern; and sold through Art Republic and to private collectors. She has also been the recipient of several awards, funding, and residencies.
