Open Fri 6th Sept - Sat 5th Oct 11am - 6pm
Private View Thurs 5th Sept 6:30pm
CHARLIE SMITH
london is delighted to present Tom Ormond with his first one person exhibition
at the gallery.
Ormond’s paintings
operate between the rustic and the futuristic. Overtly architectural, we are
shown interior views or isolated buildings in sparse landscapes. Paying great
attention to the physicality of a structure, Ormond renders constructions by
combining great, angular struts with worn, textured surfaces. However, these
are impossible structures that in the hands of the artist become sentient. They
are in flux, either in a state of implosion or explosion, where the derelict
points towards what was, and what will be. This flight of logic leads to the
heart of the paintings. More often than not the subject begins with the dynamics
of the artist’s own studio - and by extension every artist’s studio - which is
then transformed into an environment beyond time and place. Looking closely,
one will identify the detritus of artistic production: brushes, paint pots,
bits of wood, models and empty cups. Each of these is suggested by earlier
layers of paint and mark making, and refer to the power of transformation from
the everyday to the mysterious.
The idea of
transformation is augmented by the light structures that dominate many of
Ormond’s paintings. Appearing within and outside of the buildings, complex
constructions of geometric light forms come to dominate the environment.
Suggesting power and force, they overwhelm and illuminate otherwise moribund
environments. But these are more than architectural structures. And as with
many elements in Ormond’s paintings there is uncertainty and slippage
underpinning the immediately evident. These illuminating structures suggest
hope, and point to the supernatural. Relating to Ormond’s long standing interest
in off-grid communities, the artist alludes to unseen forces that might be
harnessed but are not necessarily fully understood or utilised.
Beneath all of
this lies a complex set of knowing visual devices applied with technical
expertise. The paintings are built on Euclidean axioms including horizon lines;
vanishing points; and rectilinear grids, and material is applied variously from
thinly poured paint to broad sweeping brush strokes to scrapings of paint
residue from the artist’s palette. And again, these techniques are used to
create conundrums as flat planes attempt to describe curved surfaces and
rectangles become triangles. Such are the complexities that Ormond employs in
order to present us with an impossible architecture of opposites.
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