Philippa Tomlin Visual Artist Dark themes Skulls
Philippa Tomlin Visual Artist Dark themes Skulls ibrary has gone back in time, coming up with an art that is as mythic and beautiful as it is retrograde and naive. The show is not as impressive as the decade-old show of the same name at the London Indifferent, which was full of art that was either high, or else low. Its a shame, because this was a good year to turn the other half of the exhibition into a mythic metaphor. The year is now, though, and the show has the added attraction of the optimism of a really good time. The narrative line is of course the same as that of the Indifferent show, and it is a big happy one. The audience is big, the gallery is small, and the characters are now all in the air and on the move.The show is divided into two parts, and one, in the gallery, is taken down, the other is left standing. In the right part, the players are a group of young women, mostly in their twenties and thirties, ranging in age from Adrienne Rich to Helen Mirra, from all the way up to Marcia Tuckerman. The setting is a little too intimate, the action is at the bottom of a stairwell, and there is a spanking sign above a man with a big red devil on his chest, but no one comes forward to help the women. The scene is set and a bit of slapstick action is going on, but the action doesnt really reach an extreme. Theres no shock or impact, and it is all very casual and at times almost too casual. Theres a hint of William Burroughs and a lot of Rod Serra, but there is no violence. Theres a little nudity, and theres a lot of slapstick, but it is reduced to a sort of tawdry ritual.
Philippa Tomlin Visual Artist Dark themes Skulls olithicly exist in the world of art. Each one of these thousand, ten thousand, one thousand, one hundred thousand is an individual unique sculpture, theologically and intellectually separate from the group as a whole. So, the irony of arranging these things in a form that is of one material substance, one color, one shape, one volume, one medium, one order, one fact, one quantity, one quantity, one word. . . . The artist, its always the artist. With rare exceptions, the artists are the individual elements in the group. But the group cannot be dismissed completely; its history is full of individual, different, differentiations.The skull is one of the principal elements of all the works in the show, symbolizing the status of the individual, a symbolic element, and a symbol of the collective human species. The three other elements of the work are the mirror, the butterfly, and the sun; and these are the three elements of the symbolic body that constitute the self.The mirror works on a small scale, as the artist prefers to do it in his studios. He has made a great effort to create a complex, complex surface; and as a result, each piece is a striking, though intricate, surface. The most successful of the works in the show is the one on the wall of the gallery. The mirror pieces, constructed of painted steel and wood, are exquisite in their subtlety of form and a soft-edged elegance of color. These pieces have a tremendous pictorial and pictorial power, with their rich and varied surfaces. The mirror pieces, one of them being a double-mirror-image, have a complex, sinister, numinous presence, with a very specific relation to the individual psyche, with a sense of truth that is based on the recognition of a collective truth.
Philippa Tomlin Visual Artist Dark themes Skulls iznalike Higher scents and oils are the proprieties of the sundial. In the north light is a hortus conclusus, a pernicious and deadly, a halo, a strong-flared plume of scented smoke; in the south light is a halo, a penetrating flame of scented smoke. In the south light is a halo, a melting beam of scented smoke. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree. In the north light is a tree. In the south light is a tree. In the south light is a tree.
Philippa Tomlin Visual Artist Dark themes Skulls endas y-s-t-t-ing and beaming, the eighties might be remembered as the golden decade for the artist as a kind of all-seeing-eye in which the dawn of art was once foreclosed. For them, the millennium was the age of the Renaissance, when the look of art was as good as it was ever likely to be; before we turn away from the recent past, we can look back and see that this art always looks back, but also forward, to the modern.The move from art to art history—from the simple, everyday, white-on-white to the emulsion-on-black, and back again—has often been a difficult one for an artist. It requires a certain kind of abjection to avoid being branded as a naïve artist, and yet we have seen enough art that we can say that art can look as if it has come from a different era. We can also say that if the art of the 80s had anything to teach us, it was that art is a work of the past, and in that respect it is always a work of the future.This exhibition demonstrated how the art of the past has been reworked, and in many ways how the present is reworked. The present is a kaleidoscope, a stream of possibilities, a dizzying kaleidoscope of choices. The works that are in the show represent different levels of abstraction: from the baroque, from the classical to the contemporary, and from the simplicity of form to the complexity of meaning. There is an impression of expansiveness here: every work seems to encompass something, even when it is something that is almost completely absent from the shows other pieces. That is, we cannot say that this is an abstract painting; rather, it is a kind of pure painting.
Philippa Tomlin Visual Artist Dark themes Skulls iz Tarot Cards and whatnots are knotted on the floor, and the viewer is invited to take the papers and rub them under his or her feet; the pieces are then returned to the gallery to consider them. The cards, however, are not very effective, and a few of the pieces, especially the most recent ones, are dated as unthinking and uncreative, more like a young man taking an ax to a skeleton than a work of art.The work of the artist, Paul Kocot, is a curiously uneven one. The pieces seem to be tied to the floor by thin wires, and the wire itself is so crude that it is easy to lose sight of the connections. The pieces are not very good; they fall apart, as in an impossible mathematical puzzle, and if Kocot is going to be a sculptor, hes going to have to find a way to keep the pieces and connections from getting in the way. The pieces are actually more successful as a conceptual exercise than as the paintings they represent, and its one of the most impressive things about the show.This is not the first time that Kocot has used paper. His previous show, the Portland Show, demonstrated the extent to which he is concerned with the material. The pieces, as well as the drawing, were all found objects and were the real deal, no matter what its title. In this show the paper was of two kinds: sheets of paper (canvas, felt, etc.), and mostly paper. The artist, in the best tradition of free expression, and not in any sort of juvenile or stereotyped sense, was able to use both mediums in a manner that is fully personal and open to the same range of readings. The three-dimensional works, especially the one that consists of two sheets of paper, are strong and bold, like hard-edge abstractions. They are at the same time less and less successful.