Untitled (diagonals), 2009
color aquatint with soft ground etching, ed. 20
18 x 12 7/8"
Untitled (triangle), 2009
color spit bite aquatint with aquatint, ed. 20
18 x 12 5/8"
Untitled (big circle), 2015
color aquatint, ed. 20
22 3/4 x 16 1/4"
I used to make structural films and then I was dealing with movements. Every kind of the picture plane is part of my development.
I build up something and I feel very much fear but the further along I am with a painting the more difficult it becomes to change things because it has started to become meaningful to me. The layering is part of finding the ultimate criteria and the illusion.
- Tomma Abts
Tomma Abts has lived and worked in London since 1995. She is exploring her inner self and insecurities. She begins making shapes with no preconceptions about what she will do. She washes the canvas with acrylics in different colors. Then she begins making shapes in layers and connecting the elements in order to create a kind of figure.
She introduces shadows to break the picture plane. Every picture is different for her, lines from the layers underneath lead to other shapes. She is actually painting from the inside out. The elements begin to mirror each other to achieve a double figure. While she works on each image more and more layers go oven the one below. The surfaces are very tactile. She always uses the same size, 48 x 38 centimeters and her titles are selections from a German dictionary of first names.
In each work she is trying to achieve perfection. In painting she is trying to find something that she does not know what it really is.
born 1967 Kiel, Germany
1995-96 Hochschule der Künste, Berlin, Germany
Berlin University of Fine Arts
Carnegie Museum of Art, Pittsburgh, PA
Cubitt, London, England
The Museum of Modern Art, New York
Sammlung Boros, Berlin, Germany
San Francisco Museum of Modern Art, CA
Tate Britain, London, England
Walker Art Center, Minneapolis, MN
Tomma Abts, Feye
For any first-time viewers of Tomma Abts’s work, this exhibition confirmed the age-old distinction between seeing reproductions and seeing paintings in person. The vibrant swirl and fairground colours in Tys
(2010) – reproduced on the exhibition guide and poster – looked flat on paper, but the inflections in tones and the texture of the brushwork resonate on canvas, generating a surprising first impression.
has the most clearly defined pattern among the ten canvases on display, made between 2003 and 2010. Perhaps this painting’s appeal lies in its warped symmetry. Horizontal lines recede at an angle into the distance behind a pinwheel of conical shapes, which appear to circulate around a diminishing perspective in the centre of the canvas. These oppositions – horizontal and conical, receding and circulating – create an oscillation, which in turn compels the viewer to inspect the painting’s details from afar and up close. Such visual nuances can be experienced only in a direct encounter with the canvas.
The vanishing point haunts several paintings, which all follow Abts’s strict rule of measuring 48×38 cm and are made with oil and acrylic. In Feye
(2006), a series of lines radiate from the centre, only to be interrupted by an angular mark, like a lightning bolt or crack across the canvas. Similarly in Feio
(2007), a red and white striped target-like circle begins to spiral away, only to be pierced by three sharp blue-green triangular lines, which pick at the curvature from awkward angles and appear to stop the spiraling course, if not unhook its rhythm. These illusions of movement prevent the works from becoming static, unresponsive images or indeed repetitive. Instead what is produced is a constantly shifting, roving picture, which commands the eye the way a musical harmony successfully catches the ear and demands to be heard.
However compact in size, the paintings hung confidently in the cavernous main gallery of the Kunsthalle in Dusseldorf, where Abts has been teaching as a professor of painting since summer 2010. A smaller space overlooking this gallery featured 17 works on paper, which date back to 1997 and were exhibited with her paintings for the first time here. According to the Kunsthalle website, the artist created the drawings ‘alongside her paintings in order to work out the lines, shapes and spatial relationships within her delicate compositions’ - although Abts has stated that she uses no preparatory material. The paintings themselves offer insights into their creation, revealed not least by the many layers of paint that still remain visible on each canvas. The works on paper were presented as finished pieces, and several do feel more than merely secondary to her painting. Ohne Titel
(Untitled, 2008) – a white square created in the middle of a blank sheet of paper by an enclosure of brightly coloured indeterminate shapes executed in pencil and watercolour – contains a simplicity as appealing as that in any of the canvases.
However minimal, the show did not diminish Abts’s fine-tuned ability as a painter, who has obviously found a balance between methodology of craft and continued intuition while proving the potential of an unswerving method against disparate practices that try too hard to be stylistic. Given the congeniality of her paintings, one does feel that this exhibition could have been complemented with more insights into her particular combination of craft and intuition.
-by Saim Demircan
* Tomma Abts
Crown Point Press
by Dana Zullo
"Collaborations: Tomma Abts, Zoe Leonard, Mai-Thu Perret", Parkett: No. 84
"Turner Prize: A Retrospective 1984 – 2006", Tate publishing, exhibition catalogue
"Turner Prize 2006", Tate Publishing, exhibition catalogue
"Of Mice and Men – The Book", 4th Berlin Biennale, exhibition catalogue
"Of Mice and Men – Exhibition Guide", 4th Berlin Biennale, exhibition catalogue
"Tomma Abts", Kunsthalle Basel, exhibition catalogue
"Wrong Times, The Wrong Gallery", New York, Exhibition Catalogue.
"deutschemalereizweitausenddrei, Frankfurter Kunstverein", exhibition catalogue.
"Vitamin P", edited by Valerie Breuvart, Phaidon, (Terry Myers on Tomma Abts)
"Egofugal, 7th International Istanbul Biennial, exhibition catalogue.
"Desperado, or First notes on the Vernacular", by Bruce Hainley exhibition text for The Devil is in the Details, Allsto Skirt Gallery, Boston, MA