Thomas Dane Gallery, Naples

 Jan 19 – March 2, 2019

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Utilising various fabrics as canvas, including sailcloth, Neapolitan tartan and woven images of her own previous works, Thuring constructs fragments of submarines, coins, plants, figures, textiles and volcanoes into compositions that explore the spatial depth and vocabulary of painting. The exhibition will be accompanied by an artist’s book focused purely on Thuring’s depictions of volcanoes created over the last fifteen years.

In these new works Thuring has returned frequently to the motif of tartan, both as a woven fabric and as depicted in paint. The tartan geometry acts as a two-dimensional plane and referential grid on which the syntactical elements of the painting are arranged and through which they are all connected. Thuring has continued this exploration by stretching as her canvas, a registered Neapolitan tartan produced by local draper ISAIA, a fabric producer established in the 1920s and still in operation today as a renowned tailor and menswear label. The long tradition of tailoring and cloth making in Italy and Naples here linked directly with that of Scotland where Thuring grew up, close to another industrial port city: Glasgow, much alike in its energy and vibrancy to Naples.

The often idiosyncratic depictions of tartan act like a tousled veil or curtain across the work, through which we view the elements of the painting. Its hand-rendered imprecision is in stark contrast to the strict, flat surface of the canvas. This veil adds a strong spatial element to the works, with fragments of imagery appearing behind, on and in front of it. The sequence of components seems to stretch even beyond the bounds of the painting, with the un-primed canvas receding to an infinite depth while elements on the surface almost fall out of the painting and collide with the viewer.

Alongside stretched and painted tartan Thuring will also utilise a unique method she has developed to produce her canvas, collaborating with English silk-weavers to make fabric from images of her own previous paintings. This process extends Thuring’s interest in seriality and the interchange between digital and analogue processes in her work. By fabricating her own canvas, Thuring is able to start not from emptiness but from an already activated surface. In these over-painted woven and textile surfaces Thuring takes on responsibility for all aspects of the painting’s physicality, rather than simply relying on an established or found surface material.

Artemisia, 2018 
Roger, 2018 
Iron Brew, 2018 
Deep Screw, 2018 
That was then, This is now, 2014 

Courtesy of the artist and Thomas Dane Gallery

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