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拍品专文
Tim Maguire is undoubtedly one of Australia's most high profile contemporary artists internationally. Beginning with the early paintings where shafts of dry Australian light squeezed through two corrugated water tanks and columns of colour floated above a mirage of water in the desert when Maguire resided in Australia, his paintings have always explored the theme of illusion. With his move to France in 1993, he drew upon the illusion of beauty found in flowers and fruit, which he appropriated from images drawn from 17th and 18th century still life paintings.
Since his first exhibition at Mori Gallery in 1984, Maguire has exhibited regularly in Australia, United States, Britain, France, Holland, Germany and Switzerland. In 1993 he received the Moet & Chandon Artists Fellowship, which took him to Europe, where he now resides.
It is worthwhile commenting extensively from Sarah Miller's eloquent essay on Maguire's work, which was published in a Tolarno Galleries exhibition catalogue in 2002:
"Tim Maguire's art may manifest itself (primarily) in paint, however, his approach to process and source imagery is essentially photographic. The insubstantiality of the physical surface, the luminous glazes and the panoramic scale allude to cinema. The activated splashed surface and the breaking down of layers draws the viewer in to inspect the surface, whilst the scale and illusionistic presence of the image push the viewer back to take in the whole.
That over lush and dangerously sensual ripeness, historically associated with the flora of new and imagined worlds and consequently, a kind of corrupted morality (or amorality), is a recurrent trope in European art and literature from the 12th century to the Enlightenment. Thus the drama so subtly evoked unsettles the tension between the marvellous and the monstrous, still life and cinema, figuration and abstraction, the domestic and the exotic, 'old' and 'new' worlds."
Miller goes on to comment that: "Maguire's process conflates the boundaries of painting, printing and photography by using colour separation techniques to create paintings that simultaneously confuse yet heighten the distinction between the digital and the hand crafted The transparency of the finished works suggests light effects specific to digital photography. " (S Miller, Tim Maguire, Melbourne, 2002, unpaginated)
Since his first exhibition at Mori Gallery in 1984, Maguire has exhibited regularly in Australia, United States, Britain, France, Holland, Germany and Switzerland. In 1993 he received the Moet & Chandon Artists Fellowship, which took him to Europe, where he now resides.
It is worthwhile commenting extensively from Sarah Miller's eloquent essay on Maguire's work, which was published in a Tolarno Galleries exhibition catalogue in 2002:
"Tim Maguire's art may manifest itself (primarily) in paint, however, his approach to process and source imagery is essentially photographic. The insubstantiality of the physical surface, the luminous glazes and the panoramic scale allude to cinema. The activated splashed surface and the breaking down of layers draws the viewer in to inspect the surface, whilst the scale and illusionistic presence of the image push the viewer back to take in the whole.
That over lush and dangerously sensual ripeness, historically associated with the flora of new and imagined worlds and consequently, a kind of corrupted morality (or amorality), is a recurrent trope in European art and literature from the 12th century to the Enlightenment. Thus the drama so subtly evoked unsettles the tension between the marvellous and the monstrous, still life and cinema, figuration and abstraction, the domestic and the exotic, 'old' and 'new' worlds."
Miller goes on to comment that: "Maguire's process conflates the boundaries of painting, printing and photography by using colour separation techniques to create paintings that simultaneously confuse yet heighten the distinction between the digital and the hand crafted The transparency of the finished works suggests light effects specific to digital photography. " (S Miller, Tim Maguire, Melbourne, 2002, unpaginated)