The title of Zak Tilley's upcoming solo exhibition Interrain perfectly encapsulates the textural and three-dimensional multimedia works showcased within this pivotal new body of work. The surface of these textural abstract works, devised purely from the artists imagination, echo the topography of the landscape. Otomys sat down with Zak to discuss his move away from represnational abstract painting and the influences that have inspired this bold new direction.
OTOMYS: This body of works appears to move away from the representational style of landscape painting that you have previously explored, instead depicting a “landscape of being.” What prompted you to take a more introspective approach to your painting?
Zak Tilley: In this body of work I was motivated to explore a more internal landscape. I no longer had the desire to be the observer of land, spaces and objects that were subject to ownership. I wanted to go where things were free - my thoughts. These paintings are an indexical product of my current emotional situation, charting the terrain of my mind. This journey is evident in the volume of the individual works; some are minimal, whereas others are more layered, documenting a more detailed topography of my mind. Previously my paintings were external, focused on subjects that were outside of myself. This body of work was an outlet to reconnect with myself and reflect upon a significant period of transition.
OTOMYS: This body of work uses a radical experimentation with different materials; plaster, oil sticks and spray paint have been used. Can you explain the reasoning behind such bold experimentation?
Zak Tilley: Exploring new materials has been a key component in my shift away from representational landscape painting. I was yearning for something new. I first began to explore three-dimensionality on the canvas with some of my earlier landscape painting, applying thick, impasto strokes of paint. However, working with plaster on masonite allowed me to build form, creating a work that was sculptural and three dimensional. Here, I was shaping a physical landscape of my own creation. It was a challenging shift, but also deeply exciting and rewarding as it allowed me to return to myself.
This body of work focused on texture and tactility, playing less with colour. Working with oil sticks over the textured surface of the plaster called upon primal and basic mark making techniques. Pulling the pigment across the uneven surface of the plaster reminded me of the charcoal rubbings that I did as a child.
OTOMYS: Your connection to classical Frescos is fascinating. Traditional Italian Frescoes are flat, textureless and often depict highly didactic religious scenes. Your paintings, however, are the complete opposite, embracing dynamic texture and highly abstract mark making. How do you explain your reinterpretation of the fresco?
Zak Tilley: The fresco speaks to my completed relationship to religion. Having grown up with religion, I have retained an interest and curiosity for the iconography, stories and visual culture created by Christianity. Through my art I want to understand and engage with religion, but on my own terms. My subversion of the traditional fresco marks a readiness to connect with religion in an empowered and contemporary way.
Interrain will be on display from 1 - 16 June 2023.
May 17, 2023
