Dale Lewis in the Financial Times

28 January 2018 In “Family Fortunes” the artist is served up for Christmas dinner while the goose and pork stand in as guests. In “Club Tropicana” a multi-ethnic checkout line at Morrison’s spills into a fantasy of exoticism contrasted with nine-to-five drudgery. “Devil’s Juice”, referencing Luca Signorelli’s 16^th-century fresco “The Damned Cast to Hell”, reimagines a pub brawl as a dynamic formal play of overlapping bodies in spiralling red and black. All the new works here – stark large-scale grotesque narratives in thick impasto and bold stabbing strokes contrasting with broad areas of raw canvas – establish Lewis as an original urban visionary, in a warm, comic British tradition going back to Hogarth.