Tina O'Connell

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The Jerwood Platform 2005

Context

The Jerwood Artists Platform ran from 2002 until 2007 with the aim of identifying and showcasing emerging and talented visual artists by providing them with their first London one-person exhibition.

 

Established artists, tutors and art professionals from the UK were invited to nominate individuals who showed excellence, innovation and commitment within the field of visual art and whose career as professional artists could be substantially supported through an immediate one-person exhibition in central London.

 

Press Release

This solo exhibition presented a new body of work in a range of media that bridges sculpture, process painting and print.

‘Peckham Pothole’ is a simple cast from a South London roadside puddle. Caught, shimmering almost jewel like, within a modernist acrylic block, the negative impression is enigmatically beautiful and preserved for eternity. O’Connell uses acrylic again in a series of giant translucent spheres, which simultaneously invert and reflect the void in which they are placed.

 

Over the previous five years, O’Connell’s interest in the material traditions of sculpture increased and a large proportion of the exhibition is given over to her experimentations with bitumen.

In the central gallery, she exhibited two formal modernist cubes which dissolve against each other, oozing across an immaculate white canvas to form equal arcing pools of black and cream. In another room, a row of colour swatch geometric forms were seen to collapse almost imperceptibly over time. Visually gorgeous, with a sheen like melting chocolate, these works address issues of time and deconstruction. Part sculpture, part process painting, part spectacle, the pieces question both our understanding of the object and our expectations of solid material form.

 

The Jerwood Platform selected three artists in this years series; Elizabeth Price, Graham Hudson and Tina O’Connell.

 

Exhibited Works

In the central gallery, I exhibited two formal modernist cubes which slowly dissolve against each other, oozing across a white canvas to form equal arcing pools of black and cream. In another room, a row of colour swatch geometric forms were seen to collapse almost imperceptibly over time. With a sheen like melting chocolate, these works address issues of time and deconstruction. Part sculpture, part process painting, part spectacle, the pieces question both our understanding of the object and our expectations of solid material form.  In the final room, the work “Peckham Pothole’ is placed alongside  10 formal photo etchings, a collection or library of potholes in South London where I lived.

 

 

Jerwood Website