Thursday, 28 May 2015

Bernard Jacobson Gallery – ‘William Tillyer – The Palmer Paintings’ Part 2.

Follow this link for Part 1, to read Kayla's thoughts on the painting's.

Bernard Jacobson Gallery - 'William Tillyer - The Palmer Paintings' (1st May - 30th May 2015)

From the press release I understood that Tillyer was exploring landscape, and 'cloudscapes' in his paintings and I was thinking about thick rich coloured paint and vibrant colours so I was suprised when the first pieces seen when walking into the gallery are smaller pieces on paper.  These very fluid making me think of watercolour or inks and while small and fragmented the surfaces give an effect of motion and hold a glimpse into a larger movement.  Moving further into the gallery you are then confronted by paintings on a much different scale.

After being described as clouds and knowing that these paintings are also about landscape it was refreshing to find them all portrait, I think this helped to push from rolling countryside connotations and leaned toward the light cloud-like sense.

It helped when viewing from a distance, allowing the colours and soft arching marks to guide you around the canvas but up close, where you could admire the construction of Tillyer's unique materials and process of mesh and paint the cloud-like experience faded into a very 'painterly' experience.  I became engrossed with the tiny details and the fluid mixing of colours on the surface.

At one point I forgot clouds all together and instead began to think about aerial photographs of oceans and coast-lines.  How each colour represents different depths and the swirled fluid patterns can associate to water currents. 

Again my favourite piece was the 'Palmer Triple’ (pictured above) The exposed mesh that was left hanging instead of backed by board or canvas felt lighter, the gallery lighting added this effect leaving it feeling fragile even though it was holding a massive quantity of paint that could be seen dripping and oozing through the mesh.  This piece was encapsulating.  Once drawn in by it's surface I felt dwarfed in front of it, but that feeling of confrontation by the colours and depth left me wanting more.  Wanting to be humbled in this way by sunsets each day.  It felt I was presented with the frozen moment that, unlike real clouds or landscapes, this piece isn't fleeting but solid and that you can relive the experience. 
Image Map

Tuesday, 26 May 2015

Bernard Jacobson Gallery – ‘William Tillyer – The Palmer Paintings’

Bernard Jacobson Gallery – ‘William Tillyer – The Palmer Paintings’ (1st May – 30th May 2015)

When you first walk into William Tillyer’s exhibition at the Bernard Jacobson Gallery you come across watercolour pieces comprised of interestingly shaped paper and framing. The fluidity of the work made me think more of seascapes as opposed to the cloudscapes I was expecting to see. As I followed the work through the gallery the each piece became more faded in appearance with select details throughout the work popping out and catching your gaze. It was these small details that entice you into the work and draw you in closer taking you to this curious state of wanting to find more in the abstract forms and marks.

Palmer XI by William Tillyer

Moving into the main gallery, I was engulfed in a completely different feeling about the work. The pieces had transformed from the fluid watercolours through to the dreamy and faded watercolours to bold and strong acrylic works. The texture Tillyer created within these larger works made you want to move closer as with the smaller more intimate pieces, however to get the full power and experience of the work you wanted to step as far back as possible so that the full abstract nature of the work could transform in your mind into all these possibilities. When I first looked at these powerful paintings I could not see cloudscapes, again I saw more landscapes, and after a discussion with Emma I realised this was due to the framing of the work. The framing and the backing to certain pieces hanging in the gallery meant they became really heavy to view, when I associate clouds with being light and airy.

The best piece of the show for me was by far the ‘Palmer Triple’, which consisted of three hanging meshes with no backing on them (as you would imagine them to be in his studio when they are just mere works in progress). This new freedom to the work and the way it had been allowed to just hang from the ceiling lifted it above the others and gave it the floaty and airy feeling the work needed. To me this was the only piece I could relate to being a cloudscape, encouraged by the fact the piece was built up of more lighter tones and the forms that had manifested in the texture translated in to being more organic and fresh to the imagination. The ‘Palmer Triple’ gave me a greater appreciation for the amount of work Tillyer had put in to these pieces, especially as I know I would struggle to work backwards.

Image Map

Monday, 18 May 2015

Timothy Taylor Gallery – ‘Fiona Rae’ Part 2

For Kayla's thought's on this exhibition please follow the link to part 1.

Timothy Taylor Gallery – ‘Fiona Rae’ (22nd April – 30th May 2015)

The gallery is currently showing both paintings and drawings from Fiona Rae's recent (2014-2015) greyscale work.  Usually I find myself drawn to colour and often finding myself viewing works like these due to Kayla's persuasion (and love of monochrome palettes).  Initially I recognized the Fiona Rae's name from past research at university so the lure of seeing those vibrant paintings in greyscale was too enticing.  

Wednesday, 13 May 2015

Timothy Taylor Gallery – ‘Fiona Rae’

Timothy Taylor Gallery – ‘Fiona Rae’ (22nd April – 30th May 2015)

Timothy Taylor Gallery in London is currently showing an array of paintings and drawings by Fiona Rae. The paintings and the drawings in separate areas of the gallery by keeping them apart it allowed you to take in the pure spectacular nature of the painting’s flowing, organic forms and marks. The contrast between the paintings and the drawings emphasized the intricate and controlled aspects to the smaller and more intimate charcoal drawings.