Pour ou contre la bouse d’éléphant ? Chris Ofili est pour. Les excréments envahissent les toiles et leur servent de support. Collage, peinture, glitter, épingles, l’artiste mélange les techniques comme les références. Ses compositions riches en couleurs s’articulent autour de l’histoire de l’art, la culture afro, la religion, le sexe, ou encore des mythes contemporains. Ce mélange d’influences produit des toiles délicieusement acidulées. Du choc des couleurs et des textures émane une véritable énergie. La troisième salle consiste en The Upper Room. C’est un caisson en bois, conçu par l’architecte David Adjaye, abritant une série de treize tableaux produits entre 1999 et 2002. Chacun représente un singe tenant un calice, traité en quasi monochrome. Les singes sont tournés vers une divinité accrochée au fond de la salle. L’espace confiné, l’éclairage et la disposition des tableaux créent une ambiance presque mystique. L’architecture fonctionne vraiment en harmonie avec les œuvres exposées. Les oeuvres plus récentes, peintes depuis l’installation de Chris Ofili à Trinidad en 2005, révèlent un tournant esthétique. L’artiste n’utilise plus la bouse d’éléphant, ni de glitter, ni de collages. Il peint en grand format de voluptueux corps aux membres étirés comme avec Confession (Lady Chancelor) (2007). Il juxtapose de larges aplats de couleurs pour composer des tableaux à la sensualité évidente. L’exposition de la Tate présente une œuvre riche, en constante évolution. Jusqu’au 16 mai.
Elephant dung has pros and cons. Chris Ofili goes for it. Dungs appear on the canvas, they even support them. The artist mixes the techniques and the references. His utterly colorful paintings use glitter, collages, dungs and pins, so as to reveal various influences from religion to afro culture. By mixing colours and textures, the artist creates a very dynamic work. The third room is called The Upper Room. The architect David Adjaye has designed a wooden box to display a series of thirteen paintings produced between 1999 and 2002. Each one depicts a monkey holding a chalice, painted in a quasi monochrome style, and is facing a god-like canvas, hung on the backwall. The display, the light, and the enclosed environment create a mystical atmosphere. This Upper Room enhances admirably the paintings. The most recent works show a new turn in Chris Ofili’s art. The artist moved to Trinidad in 2005. There is no more elephant dung, either glitter, nor collages. On large scale canvas, the artist paints voluptuous figures with elongated body parts, like in Confession (Lady Chancelor) (2007). These works evoke a richly sensous spirit. Tate present a beautiful show, of a work getting more and more interesting. Until may 16th.
http://www.tate.org.uk/britain/exhibitions/chrisofili/default.shtm
Elephant dung has pros and cons. Chris Ofili goes for it. Dungs appear on the canvas, they even support them. The artist mixes the techniques and the references. His utterly colorful paintings use glitter, collages, dungs and pins, so as to reveal various influences from religion to afro culture. By mixing colours and textures, the artist creates a very dynamic work. The third room is called The Upper Room. The architect David Adjaye has designed a wooden box to display a series of thirteen paintings produced between 1999 and 2002. Each one depicts a monkey holding a chalice, painted in a quasi monochrome style, and is facing a god-like canvas, hung on the backwall. The display, the light, and the enclosed environment create a mystical atmosphere. This Upper Room enhances admirably the paintings. The most recent works show a new turn in Chris Ofili’s art. The artist moved to Trinidad in 2005. There is no more elephant dung, either glitter, nor collages. On large scale canvas, the artist paints voluptuous figures with elongated body parts, like in Confession (Lady Chancelor) (2007). These works evoke a richly sensous spirit. Tate present a beautiful show, of a work getting more and more interesting. Until may 16th.
http://www.tate.org.uk/britain/exhibitions/chrisofili/default.shtm
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