Tag Archives: Tom Sharman

The Sunday Painter – Samara Scott: BRIM (Tom Sharman)

Tom SharmanThe Sunday Painter – Samara Scott: BRIM
from Tom Sharman on 8 Nov 2021

Samara Scott’s works are neither image nor objects, neither figurative nor abstract. They are recognizable things arranged in an unfamiliar order floating in a foreign substance. To gaze into them, whichever their aspect, is to be caught by someone else’s attention to strange things bought cheaply and hastily to feed, clean, satisfy and service human bodies. Rosalind Krauss wrote retrospectively about Rauschenberg’s combines as ‘a refus-al to use the autographic mark of conventional drawing […in] his insistence that [it is] the stuff of lived experience – the things one bumps into as one moves through the world – that forms experience.’ Unlike Rauschenberg’s consumables, Scott’s assemblages reveal how otherworldly ours have become. Each one has a different hue, brighter, bolder, less natural, more lurid than the last. Attention grabbing bits and pieces plucked from supermarket isles, undressed from their packaging and interned in neon groupings pique our attention. The process of consumerism is de-layed, as the odious stuff of swift consumption is made opulent and extraordinary.

All attention is a commodity now, economists tell us, bought and sold in strange new ways. Its supply is constant because we are always paying attention to something. Tim Wu notes, ‘If we think of attention as a currency, we must allow that it is always, necessarily, being “spent”. There is no saving for it later….’ Attention grabbing the business of catching us during the ‘in-between’ moments of the day, as Wu phrases it. Scott insists that her work is not a critique of capital, but it is a glut of cheap consumables, grabby, bright, sparkling stuff, penetrating, penetrable, fertile, fetid, distilled and suspended, co-opting Wu’s ‘in-between moments’ as a time and space for reflection (in spite of the smell). Her work has a future evolving from its precedents, in the dual histories of porous, fluid pictures and sculptures on the brink of an image.

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Gertrude Artist Profiles – Helena Foster (Tom Sharman)

Tom SharmanGertrude Artist Profiles – Helena Foster
from Tom Sharman on 19 Oct 2021

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Gertrude Artist Profiles – Victor Seaward (Tom Sharman)

Tom SharmanGertrude Artist Profiles – Victor Seaward
from Tom Sharman on 7 Oct 2021

We visited Victor Seaward in his studio to discuss his seductively poetic, technology-infused, conceptual sculpture.

https://gertrude.com/

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Sam Crofts x Undercover – ECO 110mm wheel promo (Tom Sharman)

Tom SharmanSam Crofts x Undercover – ECO 110mm wheel promo
from Tom Sharman on 20 Jul 2021

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Piers Alsop – Like An Ancient Day (Tom Sharman)

Tom SharmanPiers Alsop – Like An Ancient Day
from Tom Sharman on 6 Jul 2021

Piers employs imitation and, at times, backhanded homage as a means of questioning power structures. He frequently references other artists’ work and the wider art world with a wry smile, highlighting its relationship to belief. The constant devouring and humorous regurgitation of art history suggests at once a cock of the head; a questioning reverence coupled with a natural suspicion. He says, ‘It’s not so dissimilar to what cavemen did. I paint the beasts I depend on for survival’.

Piers constantly probes at the concept of truth, questioning both religion and art, both of which create frameworks for doubt as well as faith . Never short of humour, the paintings manage these more philosophical dimensions with a light touch, as if to recognise the vanity of such pursuits.

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