The First Art Newspaper on the Net   Established in 1996 United States Sunday, September 22, 2019

'Hayley Tompkins. Technicolor Hamburger' on view at the Drawing Room in Hamburg
Digital Light Pool LXXXVII 2015. Acrylic paint on plastic, 22.8 x 30.8 x 5.8 cm. Images: Courtesy of the artist, Drawing Room, Hamburg and The Modern Institute/Toby Webster Ltd, Glasgow. Photos: Helge Mundt, Hamburg.

HAMBURG.- The Glasgow-based artist perceives herself to be a painter. However, she creates her “paintings” from objects that painters would normally never consider basing their representations on. Instead of the conventional canvas, Tompkins uses a wide range of different everyday objects as image carriers, for example mobile phones, knives and chairs, sunglasses or small branches, which she transforms into something different using delicate brushstrokes.

This works series, which Tompkins has named Objects, deals with the question of how adding paint can transform found basic commodities, giving them a new identity that goes beyond their previous functionality. “This transformation is, perhaps, the meaning of optical research in Tompkins’ practice, the uncovering and foregrounding of secondary characteristics in the material world”, according to Will Bradley (in ‘Up until now’, exhibition catalogue Aspen Art Museum, 2013, p. 101). Colour is the most important element in Tompkins’ art – it has the potential to transform material by causing a shift in the viewer’s imagination.

Tompkins describes this duality between the external image and that of the mind as a kind of hypothetical relationship, as her objects only seem to exist “as if”, as an echo of something that existed before. Her objects can be perceived as something between a dream, a reconstruction and a product.

With the work series begun in 2013 on the occasion of the Venice Biennale, Tompkins further explores the tasks and scope of her medium. Relinquishing the brushstroke, she pours acrylic paint, as thin as watercolour, into transparent plastic bowls, normally used to store provisions. The working process contains an analogy to photography: Tompkins pans the paint back and forth like in a gold-digger’s sieve, as if she were developing photographs in a darkroom.

As a result, within the confines of the plastic bowls, a “floating” visual plane is created, in which ellipse-shaped or amorphous areas of colour appear to have been set in motion, forming swirling colours and various thin layers of paint that merge to create organic structures, which trigger associations with fire, water, sand or cosmic entities. The monochrome works in this series are sometimes reminiscent of a meditative cushion of coloured pigments, watercolours and sponge gouaches in the style of Gotthard Graubner. Hayley Tompkins herself describes her works from the Digital Light Pools series as small television screens and as “events of colour in a space”.

For the exhibition “Technicolor Hamburger”, Tompkins created a series of new Objects and Digital Light Pools in luscious polychrome colours, which allude to the recurrent motif of the rainbow in her work and make playful reference to the US invention of colour film in 1915...“in a multitude of colours, as if to exist in Technicolor”.

With her variations in tone, which simulate the refraction of light on surface, Tompkins transforms her works into pure colour happenings and in this way gives them a hyperreal vibrancy that immediately appeals to our senses.

Hayley Tompkins (*1971 in Leighton Buzzard, England) lives and works in Glasgow. During the last three years, her international solo exhibitions included: Andrew Kreps Gallery, New York; The Aspen Art Museum, Colorado; Studio Voltaire, London; The Modern Institute, Glasgow; Inverleith House, Royal Botanic Garden, Edinburgh; and Re, The Drawing Room, London. Her work was shown at the São Paulo Biennial in 2012. Her participation in group exhibitions includes the following institutions: Tate Britain; Institute of Contemporary Arts, London; Hessel Museum at Bard College, Annandale-on-Hudson, New York. Together with Corin Sworn and Duncan Campbell, Hayley Tompkins was one of the three selected artists that Scotland exhibited in the Palazzo Pisani at the 55th Venice Biennale.

Today's News

March 1, 2015

Iraq reopens Baghdad museum 12 years after a third of its collection was looted

Bechtler Museum of Modern Art presents exhibition of art books by modern master Henri Matisse

Complete retrospective of the work of Niki de Saint Phalle opens at the Guggenheim Museum Bilbao

The Courtauld Gallery presents a ground-breaking exhibition of Francisco Goya's later works

'Warhol by the Book' to open at the Williams College Museum of Art in Massachusetts

'Monumental Miniatures: Joan Mitchell's Drawings' opens at Museum Folkwang

Clark Art Institute's 'Machine Age Modernism' exhibition explores groundbreaking printmaking

Exhibition of new paintings, drawings, and a film by Andrew Sendor opens at Sperone Westwater

Works crowd-sourced on Artstack to be auctioned at Christie's First Open/LDN

Details announced of Londonderry showing of Temple by Burning Man artist David Best

Exhibition at Lucy Bell Fine Art features images from 40 years of Rock portraits by Kevin Cummins

New York University Abu Dhabi Art Gallery presents 'Slavs and Tatars: Mirrors for Princes'

Stedelijk Museum Amsterdam presents recently acquired works by Steve McQueen

Annenberg Space for Photography announces new prize and exhibition

Romer Young Gallery opens second solo exhibition with San Francisco artist Joshua Pieper

Maloney fine Art opens exhibition of works by Malick Sidibé

Daft Punk at last unmasked - in sculpture

Jasmina Danowski's most recent body of work on view at Heather Gaudio Fine Art

'Hayley Tompkins. Technicolor Hamburger' on view at the Drawing Room in Hamburg

Exhibition of three pioneering Bronx photographers captures social activism and change in the 20th century

Solo exhibition of work by Chantelle Stephenson on view at 43 Inverness Street

Exhibition of works by Nick Mauss opens at 303 Gallery

Solo exhibition by French artist Marie Jacotey on view at heike moras art

Most Popular Last Seven Days

1.- Holocaust 'masterpiece' causes uproar at Venice film festival

2.- To be unveiled at Sotheby's: One of the greatest collections of Orientalist paintings ever assembled

3.- Bender Gallery features paintings by up and coming Chicago artist Michael Hedges

4.- Lévy Gorvy exhibits new and historic works by French master in his centenary year

5.- Artificial Intelligence as good as Mahler? Austrian orchestra performs symphony with twist

6.- Fascinating new exhibition explores enduring artistic bond between Scotland and Italy

7.- Exhibition explores the process of Japanese-style woodblock production

8.- Robert Frank, photographer of America's underbelly, dead at 94

9.- The truth behind the legend of patriot Paul Revere revealed in a new exhibition at New-York Historical Society

10.- Hitler bust found in cellar of French Senate

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful