The kaleidoscopic horrors that Dale Lewis summons from his East London neighborhood provide an unsettling image of post-Brexit life. While their frantic anti-Trump counterparts continue to protest in America, Britain’s liberal remnants seethe. Such repressed tension boils up to the surface of Lewis’s impressively large figurative paintings, which owe their aesthetic to the AbEx gargoyles of Willem de Kooning.
Elaborately choreographed, the subjects of Lewis’s paintbrush bend over backward into quotidian scenes of family, friends, and sex. The labyrinthine intricacies of his compositions, such as