“David’s work reminds me of one of my favourite films, Freaks, Tod Browning’s 1932 film set in a freak show in which he cast real sideshow performers with deformities. As well as alluding to circus perfomers David’s paintings often represent groups of seemingly disparate people; an aviator, a contortionist and a shaman for instance, who seem unaware of each other, don’t relate to one another, yet share a space on the canvas. I heard someone describe the work as poignant just now and I think that’s true… without wanting to get too deep, it seems like a comment on the human condition, that in the end we’re all alone.”
Simone Pereira Hind

“David Caines brings his passion for fifties flotsam to the canvas, producing paintings which are a cross between Warholian pop art and Magritte’s surrealism and feature childhood cakes, box brownie cameras, typewriters and pseudo-industrial kitchenware beloved of post-war mums and hausfraus. Caines, who says he “is as influenced as much by packaging and design as by other painters” wants to express the beauty in the familiar objects around us.”
The Big Issue

“David Caines gets trashy with his Love Soap painting. Against a grey, scuffed background he carefully paints in a small bar of soap, with a Warholesque obsession for the minutiae of the product packaging. With its pink and white labelling, this Sabon de Amor is what you could imagine Barbara Cartland coming up with if had she been handed a paintbrush rather than a pen. This show is the art world equivalent of a Woody Allen film – letting you know everything you wanted to know about snogging but were afraid to ask: enjoy.”
What’s On In London

“Enjoyable debut one-man show by David Caines. Bright pop items and images of Americana — an old typewriter, camera or petrol pump — stand in isolation against stark abstract backgrounds conjuring both a sense of nostalgic sadness (reminiscent of Edward Hopper) and a celebration of the perfection of classic design, like this Blue Robot.”
The Guardian

“Caines paints classic consumer products from the ‘40s and ’50s — an old typewriter, a camera, a fondant fancy — in loving detail while displacing them so they float, in poignant isolation, in flat, more freely painted plains of colour.”
Time Out

“The striking work of David Caines is at The Tabernacle until the end of October. Inspired by nostalgia in the form of magazine cuttings, sweet and domestic product packaging, Caines often juxtaposes his subject with an area of totally blank canvas to provide the contrast which in turn gives rise to those feelings of nostalgia — an old 1950s camera, a tea time pastry, a forgotten tin toy all give our memories a push.”
Where London