Contemporary Art in the Americas Arte Contemporáneo en las Américas

Hayley Tompkins

Hayley Tompkins

Lulu Mexico City, México 12/10/2016 – 01/28/2017
8

Exhibition view, 2016. Courtesy of Lulu, Mexico City.

35

Exhibition view: No Tiltle, 2016. 5 parts. Acrylic on paper bags. 24 x 14 x 6.6 cm each. Courtesy of Lulu, Mexico City.

42

Digital Light Pool CX, 2016. Acrylic paint on plastic. 30.5 x 22.5 x 5.5 cm (12 x 8.7 x 2.2 in). Courtesy of Lulu, Mexico City.

Hayley Tompkins is essentially a painter. Working on a decidedly intimate scale, Tompkins is known to make non-representational paintings on paper, chairs, cutlery, sticks, even cell phones, as well as in trays, in addition to working with found photography and video. No matter what her support may be, her generally bright and airy palette is suffused with the freshness, lucidity, and immediacy of water color. If the work is marked by a sense of intimacy and domesticity, it is because Tompkins sees painting as something in the world, and not apart from it. By the same token, while the work undoubtably questions where and how a painting can happen, its interest in unusual supports is more linked to painting’s, and even art’s general capacity to organize the world. Where some painters aim to disrupt and make a lot of noise, Tompkins is clearly interested in carving out a space of quiet and contemplation. Indeed, what she does is as much about creating a painting as it is about creating a specific atmosphere, an interregnum, a brief, but luminous interval.

http://www.luludf.com/

8

Exhibition view, 2016. Courtesy of Lulu, Mexico City.

35

Exhibition view: No Tiltle, 2016. 5 parts. Acrylic on paper bags. 24 x 14 x 6.6 cm each. Courtesy of Lulu, Mexico City.

42

Digital Light Pool CX, 2016. Acrylic paint on plastic. 30.5 x 22.5 x 5.5 cm (12 x 8.7 x 2.2 in). Courtesy of Lulu, Mexico City.

Hayley Tompkins es esencialmente una pintora. Trabajando en una escala contundentemente íntima, Tompkins es conocida por hacer pinturas no representacionales en papel, sillas, cubiertos, palos, e incluso teléfonos celulares, así como charolas, además de trabajar con elementos encontrados de fotografía y video. Sin importar el medio que utilice, su paleta generalmente brillante y airosa es matizada por la frescura, lucidez e inmediatez de la acuarela. Si su trabajo es marcado por un sentido de intimidad y domesticidad es porque Tompkins ve la pintura como algo que pertenece en el mundo, y no fuera de él. Por la misma razón, mientras su trabajo, sin duda, cuestiona dónde y cómo puede existir la pintura, su interés en usar soportes inusuales está más ligado a la capacidad de la pintura, e incluso del arte, de organizar el mundo. Donde algunos pintores buscan perturbar y hacer ruido, Tompkins está claramente interesada en modelar un espacio de quietud y contemplación. Ciertamente, lo que hace es tanto sobre la creación de una pintura como lo es sobre la creación de una atmósfera específica, un interregnum, un intervalo breve pero luminoso.

http://www.luludf.com/

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Mélanie Smith at Contemporary Art Museum Houston, Texas, USA

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