Jill Mulleady (*1980 in Montevideo, Uruguay) and Henry Taylor (*1958 in Ventura, USA) share a long-standing, shut friendship and an absolute dedication to portray. The duo exhibition “You Me” is the manifestation of the bond between two artists of various generations and backgrounds, during which expressive figurative portray and an incisive reference to artwork historical past act as a typical denominator. Via their imagery, Mulleady and Taylor discover ambivalences that immediate viewers to ponder their stance on portray, significantly within the juxtaposition of the personal and the general public, in addition to in the illustration of our bodies. At first look, the respective creative strategy to the thematic worlds negotiated seems contradictory, however it’s exactly these moments of tilt and the continual problem to interrupt by means of and reoccupy widespread attributions, codes and thought patterns during which their painterly follow comes collectively. The exhibition “You Me” explores the connection between artist and topic, viewer and illustration, and in the end, the intersection of the general public and the personal realms.

Jill Mulleady’s panoramic collection of seven work captures an inside by means of varied views and moments, drawing the viewer right into a site-specific intervention throughout the area. The glass sculpture transforms the octagonal pavilion right into a panopticon, reflecting and absorbing the painted photos relying on the viewer’s place. By coming into the one-way mirrored room, guests are shielded from exterior eyes and may observe others as they witness themselves the scenes depicted, suggesting a voyeuristic expertise.

Mulleady displays on the historic use of the feminine nude in portray and questions the normal area given to the viewer of a visually fascinating floor, utilizing it as inspiration to develop her personal iconoclastic language. Surfaces are disrupted by drips of condensation, fogs of steam, fragments of our bodies, and flashes of sunshine. The violence bounces throughout bedsheets disturbed by licks of orange gentle, and onto the drips of water themselves, which appears to include purple reflections of blood or gentle, purposefully blurring the boundaries between the topic and her environment, merging her type with its personal reflection and the architectural area itself.

Henry Taylor constantly and concurrently embraces and rejects the tenets of conventional portray, in addition to any formal label. Combining figurative, panorama, and historical past portray, Taylor’s huge physique of labor is rooted within the individuals and communities closest to him, usually represented alongside poignant historic or pop-culture references. Taylor’s follow resonates with an expansive array of artwork historic references, from the expressive and politically engaged work of German painter Max  Beckmann to the visionary and daring figurative work of US-American artist Bob Thompson. Exceeding the boundaries of the canvas, Taylor additionally creates assemblage sculptures, stacking and affixing disparate objects collectively to create a holistic file of his on a regular basis routines with the supplies that outline them. Referring to this intuitive course of as “searching and gathering,” Taylor merges a number of references–historic and modern–concurrently. Via his wide-ranging oeuvre, Taylor captures an entire narrative that displays the breadth and depth of his topic.

In dialog with Mulleady and Taylor’s work there are additionally historic works on paper by Otto Dix, Käthe Kollwitz and Marcel Duchamp which solid a brand new gentle on the scenes depicted.

at Schinkel Pavillon, Berlin
till Could 19, 2024