PRINT January 2001

Clarissa Dalrymple

RICHARD WRIGHT MAKES WALL PAINTINGS immensely refined insignia that conjure the long history of human inscription. Wright’s paintings burn a retinal hole. They are not pictures. They are clear, bright, painted markings. As in a Baroque chapel, they activate a mental architecture, the way stars can make a ceiling, and offer an unlimited horizon.

Born in England in 1960, Wright studied painting in Edinburgh and worked for some time in a figurative vein. Restricted by the form, he found himself ungratified and took on work as a sign painter and musician to make his living. In the early ’90s, a potent neo-Conceptual art community was taking root around the Glasgow School of Art, where Wright was enrolled at the time, and it was there that he developed the sort of site-specific, conceptually oriented practice that has subsequently informed his contributions to such surveys as 1998’s Manifesta

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