Subverting modes of visual perception, Dean Levin’s practice addresses the contingent relationship between works of art and the space in which they are displayed. Having studied as an architect, the perception of space is a driving force in his work. While his minimalist works are often two dimensional, one of the key elements in his practice is the interplay between the flat surface and the sculptural aspect of his work which inevitably engages with the space around it.
Levin uses mirrored surfaces in his practice to draw the viewer and the space into the work, serving to highlight the instability of human perception. His oft used grid references architectural plans and modern artists such as Agnes Martin and Sol LeWitt but also the chequered lines favoured by punk rock subcultures. The hand drawn grids reveal human errors of smudging and slips which are then faithfully reproduced and printed onto mirrored stainless steel. The contrast between the perfection of the polished surface and the unsteady hand offer insight into the relationship between human and mechanical modes of production.
Levin frequently engages with the support in unconventional ways by bringing into focus otherwise hidden elements - canvas, stretcher, linen etc - and presenting them as objects in their own right, using staining techniques, alternative modes of stretching and stitching to highlight their material presence.