Tillyer approaches the relationship of image and object from an interesting standpoint, viewing the picture plane as tyrannous in order to subvert its stranglehold upon painting, attacking the painting support by pushing through the grid, constructing sculptural frames through which to squeeze paint resulting in colourful three dimensional, almost magma like, eruptions.
Yet still a picture plane emerges to stake its claim upon painting. This two dimensional tyranny however, succeeds in a way that cohesively reconciles itself with a tribute to three dimensional form and results in a successful communication of the concerns Tillyer wrestles with.
About William Tillyer
William Tillyer’s approach to painting is constantly evolving. His work redefines and reinterprets classic subject matter, like landscapes, still lifes, and portraits, in methods that challenge historical traditions and vary between bodies of work. During a time in which Tillyer believes art is too often a projection of the artist, he attempts to initiate instead a dialogue between elements of paint, surface, and subject. His “Helmsley Sky Studies”, for example, are based a cloud series by 19th-century Romantic painter John Constable. Unlike the originals, which Constable controlled solely by oil paint and precise brushwork, Tillyer incorporates grids of metal lattice; as the paint conforms to the wire mesh, the focus is shared by subject and materials, thus separating it from the confines of the traditional landscape.
British, b. 1938, Middlesbrough, United Kingdom