• JAN 18 to MAR 16
    Solo Exhibition
    TIM GARWOOD-BAD GRAMMAR

    Category

    • Solo Exhibition
    • Contemporary

    Dates and Opening hours

    JAN 18 to MAR 16, 2018

    Vernissage: JANUARY 18, 20H

    Event Location

    Galeria Combustion Espontanea

    Amaniel 20 bajo b
    Madrid
    Spain

    View website

    Artists

    • Tim Garwood

    Information

    'Get on with it, do something' -Tim Garwood
    Tim Garwood keeps his eyes open and his hands moving. His energy for painting is contagious, and it moves across this suite of works in bright colors, gestural brushstrokes, and layered surfaces that capture the pace of his exploratory practice. Tim describes his process as “hunting for a painting.” Whether for survival or recreation, hunting requires a heightened state of awareness; the hunter inhabits a world that has become more alive. In Tim’s case, the painter registers and responds to new materials and marks quickly and bravely, the way that a hunter reacts to a sudden sound or motion in the grass.
    Hunting happens inside Tim’s studio and outside of it. Things he spots on the streets metamorphose into impromptu ingredients for his paintings. These found items “can be like poking the embers of a fre to get things going again,” he explains. They are catalysts for a new set of moves and methods. In some works, Tim stretches a black and white tablecloth to form a background; the artist distorts the cloth’s uniform perpendiculars while still retaining its anchoring lines. Tim battles with and not against this grid. Between motion and rigidity, softness and structure, his bold painting style nonetheless always foregrounds the vigor of the artist’s hand.
    Tim’s hunt is a search for constant surprise. Some are serendipitous, while others are created by the artist himself. A few of Tim’s works feature brass rings that the artist inserts into found pieces of fabric. The brass pieces resemble grommets for boat sails, imbuing the work with a resonance of industrial functionality that exists outside of the realm of painting. Here Tim’s intervention refects his concern with object making: he considers his paintings to be objects rather than pictures of things. Somewhere between sculpture and surface, Tim’s preoccupation with the materiality of paint and paintings is refected in his works’ collaged components, some of which are cut from older works. These clippings recirculate ideas from previous iterations of Tim’s practice. Their surfaces record a series of strong decision that contain a history of effort, elimination, and creation. This dynamism continues to cycle on and on in Tim’s work.
    TIM GARWOOD
    Hunting for a painting Tim Garwood and constant surprise 18enero-16marzo Curated by Lauren Moya Ford

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