PETER FREITAG
Tess Williams
London
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London
Published 25/03/2016
Tess Williams is a London based artist who works within the field of expanded painting.
She explores what can be identified as the masculine and feminine aspects of material, colour and form, playing with the relationships between these polarities. The grimy, rough and brutal blacks and greys, thick heavy bodied materials contrast with the light delicate translucency of finer cottons, fleshy colours and soft pastel washes. Sewing...
Tess Williams is a London based artist who works within the field of expanded painting.
She explores what can be identified as the masculine and feminine aspects of material, colour and form, playing with the relationships between these polarities. The grimy, rough and brutal blacks and greys, thick heavy bodied materials contrast with the light delicate translucency of finer cottons, fleshy colours and soft pastel washes. Sewing introduces a commonly thought of female domain whereas metal staples and nails introduce the male.
Tess uses mainly unstretched canvas, cottons and linens, exploring how folds, creases, layers and movement within the materials can not only act as a form of mark making but also reference the body. Whilst engaging with these material concerns, the continued exploration of painting itself as a medium remains central to her practice.
Tess’ work goes beyond the boundaries of the traditional picture frame and crosses over into installation and large scale collage. This is in order to amplify the physical presence of painting, whilst continually referencing its history.
What is it about your studio space that inspires you?
My studio is in an old factory building which has many of its original features including huge metal beams and high vaulted ceilings, so its a great space to be in. Also, the other artists in the studios are constantly inspiring on a daily basis.
What is your favourite material to work with? How has your use of it evolved throughout your practice?
I constantly use such a variety of materials so it's hard to chose just one. But my top three would probably be oil sticks, inks and fine woven linens. My choice and use of materials is always evolving which I hope never stops
What advice has had the biggest impact on your career?
Never make the same piece of work twice - keep moving forward.
If you could install your art absolutely anywhere, where would that be?
For me, the Parasol Unit and Sadie Coles are two of the best gallery spaces in London - so either one of those.
If you could only have one piece of art in your life, what would it be?
A painting by Joan Mitchell, Mark Rothko or Franz Kline
