A confidence and wealth of intelligence is engrained in the way that Dellow paints, for anyone viewing these paintings it becomes clear that there is no real substitute for the accumulation of the lived experience. Through his refined sense of touch of surface and new personal discoveries in paint,
Dellow plays with and expands the viewers perceptual and sensual experience. Dellow cloaks his observations from the world, inviting the viewer to enter an open contemplative visual space. Then in the moment of looking, the shivers of recognition reverberate deep within the consciousness of the viewer.
This way of working has achieved a level of intensity that has informed the way Dellow thinks about painting. He sees a parallel between this playful method and Gilles Deleuze’s concept of the actual and virtual. He suggests that the ‘actual’ contains alternative possibilities of how the painting could be developed or improved, these are ‘virtual’ ideas and give way to a ‘re-actualizing’ of a developed state. Dellow engages in finding a way to review composition progress, and finds that “this is often a way of refreshing the intention of the work.” He feels that there are similarities in this imaginative process with Karl Popper’s ideas of the growth of knowledge and the process of ‘becoming’ in the thinking of Deleuze.1
Matthew Macaulay, 2018, Coventry University.
1. Karl Popper 1972 Objective Knowledge Poppers evolutionary formula PS1 problem situation – TT tentative theories – EE1error elimination – PS2 problem 2 linked to Giles Deleuze. Routledge Critical Thinkers, Claire Colebrook. p.4 diversity of becoming.