His practice is driven by the psychology of “perception and intent”, and the dichotomy of opposing principles. He is considered a conceptual painter and balances various bodies of work, producing series contextualized by the intersections in his trajectory from artistic vandal, to creative professional, and ultimately contemporary painter.
Harnessing the intimate relationship between written language and the illustrated word, he examines how visual messages are imposed on, positioned in, and experienced in the built environment. His work is characterized by an interest in spatial analysis, linear exploration and the sensibility of architectural order. He employs a reductive formalism that articulates the coordinate plane through proportion, frequency, and contrast.
Dash’s process is manual and mechanical, some pieces are completely concrete, while others are organic and radiate the luminous quality that Baroque glazes create over a varnished grisaille.
His work, meditative and transformative, functions as a modern Lingua Franca and conveys the urban vernacular with an imbued thereness that engages one’s sense of self, place and time.