In 2016 Attwood received a PhD from Curtin University, and in 2019 completed the SOMA Summer program, SOMA, Mexico City. He has exhibited his work nationally and internationally, and his work is held in Australian public collections, including the Art Gallery of Western Australia and Artbank. Reviews and profiles of Attwood’s work have featured in Australian publications including Art Collector, Art Monthly, Artlink, Un Magazine, MeMo Review, and Dispatch Review.
Recent exhibitions include Glass and the Ocean, FLⒶT$, Cologne, 2024; The Damned, Gene’s Dispensary, Los Angeles, 2024; Me, Also Me, Art Gallery of Western Australia, 2024; Glue Paintings, Bill’s PC, Fremantle, 2024; The Post New, Moore Contemporary, Perth, 2023; A Commodity Is A Strange Thing, Cellar Door, Sydney; Magic Vacuum, Disneyland Paris, Perth, 2023; New Beasts of Burden, Low Gallery, Riga, 2022; An Appetite for Servitude, scatalogicalritesofallnations, London, 2022; Dust Blaster, Savage Garden, Melbourne, 2022; The Last Bastion of Laziness, Metro Arts, Brisbane, 2021; sala-jardín-bar: I Believe in God, Only I Call It Nature, Lodos Gallery, Mexico City, 2021; WFH, STATION, Sydney 2020; Teenagers, Lon Gallery, Melbourne, 2019; Jugo, Biquini Wax EPS, Mexico City, 2019; A Decadent Defecation, Bus Projects, Melbourne, 2018.
Alongside his studio practice Attwood directs the independent project space Disneyland Paris, and is co-editor of the book The Art of Laziness: Contemporary Art and Post-work Politics (Art + Australia, 2020). He acknowledges the Whadjuk people of the Noongar nation as the traditional custodians of the land on which he lives and works.
CV
david.attwood.art[at]gmail.com
@davidattwood
Disneyland Paris
disneylandparis.net.au
Press
Glass and the Ocean Contemporary Art Library
Glass and the Ocean KubaParis
Glass and the Ocean saliva
Glue Paintings Contemporary Art Library
Glue Paintings Ofluxo
Glue Paintings KubaParis
Glue Paintings Daily Lazy
Dispatch Review Abstract art, DMT capitalism and the ugliness of David Attwood’s paintings
The Post New TzvetnikGlue Paintings Ofluxo
Glue Paintings KubaParis
Glue Paintings Daily Lazy
Dispatch Review Abstract art, DMT capitalism and the ugliness of David Attwood’s paintings
The Post New Ofluxo
The Post New Daily Lazy
A Commodity is a Strange Thing Daily Lazy
Magic Vacuum Tzvetnik
Garfield in 2D Tzvetnik
Garfield in 2D KubaParis
New Beasts of Burden Ofluxo
Dust Blaster MeMo Review
Dust Blaster Scandale Project
sala-jardín-bar: I Believe in God, Only I Call It Nature Contemporary Art Daily
sala-jardín-bar: I Believe in God, Only I Call It Nature Art Viewer
The Last Bastion of Laziness Tzvetnik
The Last Bastion of Laziness Ofluxo
Home Office Ofluxo
Officeworks Ofluxo
Texts
Daniel McKewen, ‘Torsion’, Un Magazine 18.1, 2024
Sam Beard, ‘Hyper-local, hyper-global, post-regional Perth, Artlink, Issue 44:2, 2024
Stephanie Berlangieri, ‘A commodity is a strange thing’ Catalogue essay, Cellar Door. 2023
Stephanie Berlangieri, ‘The Post New’ Catalogue essay, Moore Contemporary. 2023
Kelly Fliedner, ‘Made Ready’, Art Collector, Issue #104. 2023
Tara Heffernan, ‘Magic Vacuum’ Catalogue essay, Disneyland Paris. 2023
David.A.Kerr, ‘New Beasts of Burden’ Catalogue essay, Low Gallery. 2022
Scott Robinson, ‘Dust Blaster’, MeMo Review. 2022
Deirdre Cannon, 'Dust Blaster' Catalogue essay, Savage Garden. 2022
Francis Russell, Plush Assemblage, 'The Last Bastion of Laziness' Catalogue essay, Metro Arts. 2021
In conversation: David Attwood and Amelia Winata, Bus Projects, 2018
Texts by David Attwood
Garfield's Productivity, 'The Last Bastion of Laziness' Catalogue essay, Metro Arts. 2021
Introduction, The Art of Laziness: Contemporary Art and Post-Work Politics. David Attwood and Francis
Russell. Melbourne: Art and Australia. 2020
How to Work Better, The Art of Laziness: Contemporary Art and Post-Work Politics. Melbourne: Art and Australia. 2020
A Decadent Defecation, Catalogue Essay, Bus Projects, 2018
Two Harpic Lemon Toilet Rim Blocks, un Projects Issue 11.2, 2017