Joel Tomlin

Joel Tomlin (b.1969, Sheffield, UK), studied painting at Chelsea College of Art. Departing from painting, Joel often works through sculptural forms and crafted assemblages. With references to the folkloric, Joel’s work has an innate finesse that comes through his artisanal approach. Here, the patinas of time allude to both the master craftsman’s hand well as to his dreamy disposition. In this way, Joel’s sculptures appear to have come from an Arcadian world, a somewhat romantic space of natural splendour and harmony.

Selected exhibitions include: Spoke Eye, Belmacz, London (2019); duo exhibition with Felicitas Aga, Atelier Huth, Germany (2019);  Backyard Sculpture, Domobaal, London (2019); point of view 2019, Randan Barns, Hay (2019); Apple, Dice, Knife,  Sothebys Stockholm, Sweden (2018); The Ashtray Show West, Belmacz, London (2018); Humble as Hell, Merz Barn, Elterwater (2017); The Names, Transition Gallery, London (2016); Calyx Horse, Belmacz, London (2015); A Bestiary, Turf Projects, London (2015); Naturrelikt und Kunstkonstrukt, Grafikmuseum Stiftung Schreiner, Bad Steben, Germany (2015); Unplanned Memories, Transition Gallery, London (2014); Fourth Drawer Down, Nottingham Contemporary, Nottingham (2014); News from Nowhere, William Morris Society, Kelmscott House, London (2014); Selected Paintings and Sculpture, Kronach, Germany (2013); Women in love, Belmacz, London (2013); Parallel Universe, Charlie Dutton Gallery, London (2012); Ever since I put your picture in a frame, 42 Carlton place, Glasgow (2012); The Perfect Nude, Wimbledon Space at Wimbledon College of Art, London (2012); A Sort of Night to the Mind A Kind of Night for our Thoughts, Artary Galerie, Stuttgart and Berlin (2011); I Spy, Galerie Jones, Cologne (2011); The Perfct Nude, Phoenix Gallery, Exeter (2011); Sehnsucht, Transition Gallery, London (2009); Think of a table for two, Galerie Jones, Cologne (2008); Oh Vienna, Transition Gallery, London (2008); Alf Löhr, Galerie Jones, Cologne (2007); Fable, Chapter Gallery, Cardiff (2006); Faltering Flame, Graves Gallery, Sheffield (2005); Intoxicated, Max Wigram Gallery, London (2005).

Joel lives and works in London.

William Morris’  journey that he undertook to Iceland in 1870, partly as an act of escapism as his personal life was in disarray, has always fascinated me. The reality of Iceland amazed and mystified Morris, claiming it “that most Romantic of all deserts”. His craftsman’s eye and mind were aroused by the discovery of a living folk art, all taking place in a very austere economy and holding up a harsh mirror to the follies and commercialism of his own era. A culture of simple handmade furniture, sledges and ancient vernacular farmhouses had an effect of transcendence on Morris, one of an atavistic connection to Iceland’s legends and sagas, as with the touch of my own works, the painting (Untitled 2017 {image 2}) gives the sensation of a remote place being brought close, the eye or keyhole to the mystery, “Dreadful with grinding of ice and record of scarce hidden fire”.

Indeed, Morris decided to absorb the origins of the Sagas, travelling alone by pony, observing the sayings, songs and poems of the people he met, which later fed into his visionary politics of fellowship. The sculptures (Untitled 2017, and Adtz 2017) attest to a condition that Morris began to believe in during this period, a Nordic sense of fate known as the ‘Wierd’. This being an origin seeking clairvoyance, a Ju-Ju like sensation that is derived from utilitarian objects and rooms, indeed, the sculptures seemingly simple materials and construction are capable of containing legends, a shared folk memory.

— Joel Tomlin