TAKSU SINGAPORE: “Manifesto”, A Solo Exhibition by Tony Twigg
2 June 2016
630 pm – 10 pm
Exhibition runs from 2 – 30 June 2016
TAKSU Singapore is honored to present Manifesto, the forth solo exhibition by Australian artist Tony Twigg with TAKSU. Tony Twigg is well known for his found timber sculptures. This series, he is looking backwards as well as forwards in his work, forwards to what it might become and back towards it’s past. Or rather looking backwards through the past at the premise of his art. Looking with hindsight and with permission to alter the past.
Tony Twigg (b. 1953 in Australia) has a strong international practice with over 40 solo exhibitions presented in Australia, Malaysia, Singapore, Philippines and the U.S.A. Over his long career Twigg has also been known for his multi-disciplinary and film works, included in the iconic Cannes Film Festival. He studied painting in Australia and received his Master of Visual Arts from the College of Fine Arts, Sydney in 1985. He was a recipient of Australia Council Manila Studio Grant (1996), Rimbun Dahan Malaysian residency (2005), TARP Residency TAKSU Kuala Lumpur (2009), and traveled to Beijing to complete a residency with Red Gate Gallery in 2012. Twigg’s work is held in major museum collections and in private and corporate collections across Southeast Asia and Australia. In March this year a retrospective survey of his practice was presented by Annandale Galleries, Sydney, which included a restaging of his collaborative performance work, “Life still”.
Recently I have been looking backwards as well as forwards in my work, forwards to what it might become and back towards it’s past. Or rather looking backwards through the past at the premise of my art. Looking with hindsight and with permission to alter the past.
I’ve been fixing some mistakes. Going over old ground, revising to improve a piece, scrapping other works and taking audacious risks with some, all with the aim of reconciling my past with my present. Establishing connections, those found and those forged across decades that merge fact and fiction. The oldest work here dates from 1987. I can remember what it looked like then but what remains is fact, fragments surviving past memory into the future.
Orwellian “New Speak” parodies a revision of the past so that it matches the requirements of the future. Politicians devise a similar switch by judging the past by the standards of the present. Contemporary culture abandoned the constraints of that liner narrative in favour of an associative structure. It’s a kind of time-travel that allows the passage of time to become a single object. I walk across my studio to the storage racks, pull out a picture from say 2006 and begin with it again. Was it a day or a decade that past? Of course it’s yes on both counts. The picture is a collapsed body of time that accommodates both fact and fiction in a single moment.
Not surprisingly we find the past reflected in the present. One is the consequence of the other. But we have to remind our selves that the past is measured by the present. In my work this has become an accommodation of what is seen and what is not seen. It permits the observation of intangible elements that might have been there once – that perhaps will be there in the future but currently can only be observed as the consequence of tangible objects.
A visual trick, an enigmatic object that shifts through space in response to our own movement, a mode of working that when applied to a personal history blends fact and fiction. If it exists, it exists and if it appears to exist it also exists. I would like to manipulate this phenomenon into the work of art, the job of seeing what is not there, that is – visionary sight.
– By Tony Twigg
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