This book examines the way in which the work of British artist Hurvin Anderson has developed since the late 1990s to incorporate installation, prints and photographs within the idiom of painting. This is the first comprehensive overview of the career to date of British artist Hurvin Anderson (b.1965). Anderson is known for painting loosely rendered ‘observations’ of scenes and spaces loaded with personal or communal meaning.

Anderson’s painting style is notable for the ease with which he slips between figuration and abstraction, playing with the tropes of earlier landscape traditions and 20th-century abstraction. His paintings of barbershop interiors, country tennis clubs and tropical roadsides teem with rich brushwork and multitudes of decorative patterns or architectural features, at once obscuring and adding to underlying ruminations on identity and place.

Drawing on interviews with the artist, Michael J. Prokopow offers a critical assessment of Hurvin Anderson’s painting practice to date that will be enlightening for all students, dealers and collectors of contemporary painting.