Ludius’ Dream

Oct 5 to Oct 24
Patrick TymanPaysage du Jardin (detail).

Opening: 6.30m Thursday 5th October

Exhibition: 5th – 24th October

People, place and identity are driving forces behind the work in Patrick Tyman’s debut solo show in Auckland, Ludius’ Dream. Tyman describes the assimilation of cross-cultural ideas as being integral and central to his art practice, largely influenced by his upbringing in India, education in England, and work in New Zealand. Vibrant, high key colour dominates Tyman’s compositions, compressing space and providing a highly charged viewing experience.

His work has been strongly influenced by the native New Zealand flora as well as the bright, rich colours of the South Pacific and tropical India. Further, inspiration has been drawn from historic art movements ranging from the classical art of the Italian Renaissance, the attention to detail and vibrancy of the pre-Raphaelites, to the disconcerting exquisiteness of Magritte, the decadence of the Baroque and the sublime splendour of Abstract Expressionism.

“To make this art I first pick objects which create self-contradictory, equivocal layers of meaning and poetic associations. The outcome is an uneasy assemblage of images in a strange, silent world. I merge Classical Antiquity, High Renaissance, Primitivism, and Post-Modernism with a brilliant palette and contrasted light and shade. They appear unrelated, time warped, telescoping past and future, with the incompatibility of objects’ associations. This contradiction leaves my painting as essentialist and pluralist.” Spending time with the works allows the viewer greater clarity; symbols and sense emerge from the apparent chaos and together to create a complex portrayal of multi-culturalism and concerning dichotomies which have, for perpetuity, summed up life. Tyman is particularly concerned with conversations surrounding the ambivalences of life/death, animate/inanimate, and peace/war.

These works appear to communicate multilayered, ‘artist- specific’ meaning however, Tyman makes clear his desire for the viewer to find their own meaning within the work. He illustrates no predetermined meaning believing that “painting in particular and art, in general, should be independent of any obligation of meaning — this should be left to the viewers’ interpretation. Thus, I offer many variations of interpretation appropriate to my painting. It communicates art as art and nothing else. An impunity from any obligation that it illustrate a preordained idea.”