“Artists on Our Radar” is a monthly series produced collaboratively by Artsy’s editorial and curatorial teams. Utilizing our editors’ art expertise and our curatorial team’s unique insights and access to Artsy data, each month, we highlight five artists who have our attention. To make our selections, we’ve determined which artists made an impact this past month, whether through online auctions, art fairs, viewing rooms, or sale inquiries through Artsy.
At this year’s online edition of Frieze New York, Daniel Crews-Chubb’s solo presentation with Timothy Taylor was among the few booths to entirely sell out during the fair. In fact, most of the British painter’s textured canvases found buyers in the first hour of the fair’s VIP preview. Last November, Crews-Chubb boasted another sold-out booth with Vigo Gallery at the Shanghai-based art fair Art021. Again, the artist’s buyers represented the top echelon of collectors—the Long Museum acquired one work from the fair, while the co-owners of Art021, Kylie Ying and David Chau, snapped up another.
Crews-Chubb’s paintings are richly layered with references to art history. His floral still lifes are a nod to Vincent van Gogh; his totemic figures recall ancient sculptural artefacts; and his thick, gestural brushstrokes find inspiration in Willem de Kooning’s impasto technique. Up close, viewers can also revel in the subtle textures of his patchwork canvases: Crews-Chubb slashes into the fabric, uses staples to attach parts of other paintings, and showcases the stitched hemline of each canvas scrap. “In a way, I’m a reactionary—my surfaces are a reaction against the flatness of a digital image,” the artist has explained. “They corrode the boundary between sculpture and painting.”
This past April, Crews-Chubb was due to reach his next career landmark: his first institutional show and major public art installation, which had been commissioned by English Heritage for Wellington Arch in London.