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William Tillyer

2015-05-29 角一







William Tillyer




William Tillyer (born 1938 in Middlesbrough) is an English artist. His work has been shown frequently in the UK and internationally since 1970.

He studied art in his home town from 1956-9, moving south to London in the 1960s to study at the Slade School of Art. It was there he encountered William Coldstream and Anthony Gross, among others. Following his time at the Slade, Tillyer took up a French Government Scholarship to study gravure under Stanley William Hayter, at Atelier 17 in Paris.


Hardware Variations on a Theme of Encounter


"Paint. Paint reacting to its support more than paint being an expressive mark or gesture and more than paint being a surrogate for some figuration or narrative I wanted the new pieces I had worked on over the past months to treat paint as object.

These new works were to be 'Variations on a Theme of Encounter'.' The surfaces and structures of the support were to be as a piece of hardware, and as an obstacle to the paint as a protest. 'Obstacles and Protests', were to be minimal requirements of these pieces. Gesture and surrogacy would only qualify this primary expression." William Tillyer
































The Revisionist Wire Works


The use of wire meshes and grid systems has played an integral part in Tillyer's method of working over the last 30 years. 'The Revisionist Wire Works' mark a return to using an open wire mesh as a substitute for the traditional continuous surface. Tillyer first began opening the surface of paintings to the support wall in 1966. His first 'Wire Mesh Works' were exhibited in 1978.

In these works a conventional geometric form is rendered in a trompe l'oeil way, and this form is surrounded by random paint chaos with no hint of the surrogate. Paint, Support, and Message are bound as one and perceived as, object.













































The Watering Place


'The Watering Place' takes its name from the Rubens masterpiece in the collection of the National Gallery, London (1615-22). This work was also the inspiration for a painting of the same name by the English artist Thomas Gainsborough (before 1777) and later for John Constable's The Hay Wain (1821), both paintings also in the collection of the National Gallery, London. Tillyer’s eponymous Palmer series refers to the romantic and visionary landscape painter Samuel Palmer (1805-1881) and both series can be seen as part of that same English romantic landscape tradition.

Both series convey Tillyer’s deep engagement with painting, particularly abstraction and the tradition of landscape painting. They also reveal the undiminished ambition with which the artist continues to bring fresh insight to the underlying obsessions of his experimental oeuvre; his investigations into the nature of the art object and its role in the world; and his search for materials and techniques not usually associated with painting.

The paintings are created from acrylic paint, mesh and canvas. The paint is pushed through a fine mesh creating an intricate surface which is carefully built up and controlled by the artist. Later, when the paint has hardened, the mesh is mounted on canvas. In some works, further layers of paint are added; in others not.

In The Watering Place there is a fiery sky shot through with blue and green swirls, clouds and veils, and two glowing, orange orbs. In their colour and surface, the paintings reference the North Yorkshire moors where the artist has lived for most of his life. The landscape around him has long been a source of inspiration, which he first explored in an early student piece, entitled The Vortex, 1958, depicting a “vortex of sky above the moors’.

























The Flatford Chart Paintings with the smaller Cloud Studies


Centred upon a cloud study motif derived from John Constable's quasi-scientific attempts to map the construction of the skies, (as well as Tillyer's own long-running obsession with clouds as a symbol of interconnectivity within the material realm), these are works that demand to be seen in relation to the historic English landscape tradition even as they push towards a new conception of the genre.





















































































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