Tommy Harrison
String vibrating in the mist, 2022
Oil on canvas
120 x 80 cm
As the first artist participating in Pipeline’s series of six exhibitions using a split gallery space, Harrison presents the artwork String vibrating in the mist (2022) to introduce his practice....
As the first artist participating in Pipeline’s series of six exhibitions using a split gallery space, Harrison presents the artwork String vibrating in the mist (2022) to introduce his practice. The work will be presented online ahead of the opening and will thereafter feature as part of his exhibition.
String vibrating in the mist is a reimagining of a Renaissance painting, depicting one of the thieves crucified beside Jesus Christ. Harrison selected this work as it encapsulates the tension between paint and subject, found and composed imagery, that drives his practice. Belonging to the collection of the Städel Museum, Frankfurt, the original panel was once part of a triptych made in the workshop of Robert Campin in Tournai and considered one of the most important Dutch altarpieces of the fifteenth century.
As one of the most prominent images rooted in art history, the Crucifixion is the perfect subject for Harrison to reconsider within painting. He unsettles the previous logic of the Renaissance panel with a layering technique, which results in an extraordinary new surface texture and configuration of colour, through a haze of green and yellow. Using geometry as a tool to create fractures, Harrison also plays with the composition of the painting, reframing the figure. The result is a thrilling interpretation of his original source, informed by a balance of intuitive and conscious thought.
String vibrating in the mist is a reimagining of a Renaissance painting, depicting one of the thieves crucified beside Jesus Christ. Harrison selected this work as it encapsulates the tension between paint and subject, found and composed imagery, that drives his practice. Belonging to the collection of the Städel Museum, Frankfurt, the original panel was once part of a triptych made in the workshop of Robert Campin in Tournai and considered one of the most important Dutch altarpieces of the fifteenth century.
As one of the most prominent images rooted in art history, the Crucifixion is the perfect subject for Harrison to reconsider within painting. He unsettles the previous logic of the Renaissance panel with a layering technique, which results in an extraordinary new surface texture and configuration of colour, through a haze of green and yellow. Using geometry as a tool to create fractures, Harrison also plays with the composition of the painting, reframing the figure. The result is a thrilling interpretation of his original source, informed by a balance of intuitive and conscious thought.
Exhibitions
This artwork was selected by the artist to present online as essential context ahead of their exhibition(3 - 22 October, 2022)
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