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William Tillyer
Small Green Field with Landscape - The Mulgrave Tensile Wire Works

2000

About the Item

William Tillyer’s Recent Paintings by John Yau Time has proven William Tillyer to be the most adventuresome painter of his generation. This is no small achievement. In a country known for its masters of landscape and light, and artists such as J.M.W. Turner, John Constable, and Samuel Palmer, Tillyer has extended that glorious tradition into new territory. Tillyer has attained this by working on different supports, which enabled him to apply paint by various, unconventional means, as well as by bringing together abstraction and figuration in unlikely ways. Rather than accepting and restating the seductive, picturesque current running through landscape painting, he has devoted himself to expanding its limits. This has meant that he has always followed his own trajectory, as well as recognized what Turner recognized in Rain, Steam and Speed – The Great Western Railway (1844) and Georges Seurat, grasped in Bathers at Asnières (1884): technology has not only marked nature but it has become inseparable from it. In the late 1970s, when many observers still believed painting was dead or, at the very least, exhausted and used-up, Tillyer began applying paint to open, porous surfaces. Over the years, the supports he has worked have varied from widely spaced, stiff architectural cladding to flexible mesh with small perforations. He has splashed and poured paint onto the support, as well as used a brush or pressed gobs of it through the tiny holes. By making the industrial fabricated mesh–or what the artist calls “hardware”–indivisible from the paint, he reminds us that we must take care of our environment rather than regard it solely as something to plunder.

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