idEntity - Alaska A painting by Tim Wright Def ining one’s identity can be challenging, and discovering a sense of self-reflection in our digitalised era can sometimes take a lifetime. Identity is not conf ined to tangible characteristics but rather it is the way we perceive and express ourselves. Factors and conditions that an individual is born with such as ethnic heritage, sex, or one’s body often play a role in def ining one’s identity. However, many aspects of a person’s identity change throughout his or her physical and digital life. People’s experiences can alter how they see themselves or are perceived by others. Conversely, their identities also influence the decisions they make: individuals choose their f riends, adopt certain fashions, and align themselves with political beliefs based on their identities. Can art allow us to correct assumptions and express our identity? Many artists use their work as an alchemical process of discovery a way to explore and question ideas about identity. All the works on show take aspects of the contemporary experience and in the process of transforming an idea into a physical object, synthesise the artist response to this encounter with the world. The exhibited works will each the viewers’ attention and focus them mentally onto their very personal quest for identity. The visual experience is uniquely capable of engaging the passerby and in conjunction with the with the artwork by James Alec Hardy and architectural space of One Carter Lane Building creating a moment of visual stimulation and a happy distraction f rom the everyday.
TIM WRIGHT Alaska, 2002 Acrylic on aluminium 150 x 150 cm - Price upon request
Tim Wright was born and grew up in London, where he continues to live and work. In the mid 1980’s he graduated in Fine Art f rom Middlesex University. His early paintings displayed an interest in the f igure and explored its f ragmentation through a vigorous painting process. The body, the observed world and their expression through paint continue to assert themselves. His practice has developed along two strands: the portrait and f igure painting. Although one informs the other, they are separate and discreet. The portraits are concerned with capturing likeness and expressing personality. The f igure painting allows for the exploration of other, broader themes. Tim Wright has exhibited extensively and his work features in many collections, both in the UK and internationally. Most recently he has had a number of solo exhibitions with Pontone and Albemarle Gallery London. He has a long experience of teaching and lecturing. He worked as a f ine art lecturer at most of the principal London art colleges, particularly Chelsea School of Art, Middlesex University and The Motley Theatre Design School. He continues to teach courses in painting at his studio in London. From 2011 until 2013 he was engaged as painting consultant on the Mike Leigh directed f ilm 'Mr Turner'. He taught the actor Timothy Spall to paint, in order for him to prepare for the role, and, when f ilming began, advised him and other actors on set. This was a an immersive process which lasted for over two years. In his f igure paintings he investigates several themes and over recent years he has explored ideas about how people present themselves, how groups interact, notions of stillness and display, and the clothed and unclothed. Wright's more recent works have seen a refocus of his gestural, fluid forms away f rom the human body and towards the inanimate object — that of an elaborately carved Rococo f rame. Together with what is contained, the f rame variously suggests an aperture, an eye, a lens or a mirror. It is also a gateway through which information is transmitted and transformed. The device draws and focusses attention to an inchoate vortex of paint onto which viewers can project their own imaginings. The foliated ellipse sits in a sea of turbulent and expressively-handled paint, whose f ilms, skins and veils articulate the mist, spray and vapour of an elemental and unknown landscape. The paintings make oblique reference to the disturbing worlds of Carroll’s “Through the Looking-Glass”, Tarkovsky’s “Solaris” and Turner’s late-period sea-pieces
ArtMoorHouse Projects
For any information please contact Elisa Martinelli E. info@artmoorhouse.com T. +447502211914
Artist represented by: ALBEMARLE GALLERY at Pontone Gallery 43 Cadogan Gardens London SW3 2TB T. +44 (0) 20 7730 8777 W. albemarlegallery.com