Joel Tomlin

Born in 1969 in Sheffield, UK. He studied painting at Chelsea College of Art.

 

Recent solo exhibitions: Apple, Dice, Knife, Sothebys Stockholm, Sweden (2018); Calyx Horse, Belmacz, London (2015), Intoxicated, Max Wigram, London (2005). Recent Group exhibitions include: If I Was Your Girlfriend: A Jam, Belmacz, London (2018); Dice Apple Knife, Sothebys, Stockholm (2018); The Ashtray Show, 4Cose, London, written contribution to William Morris Society, London (2017); Humble as Hell, Merz Barn, Elterwater (2017); The Names, Transition Gallery, London (2016); A Bestiary, Turf Projects, London (2015); Ludic at Herrick Gallery, London (2015); Naturrelikt und Kunstkonstrukt, Grafikmuseum Stiftung Schreiner, Bad Steben, Germany (2015); Fourth Drawer Down at Nottingham Contemporary, Nottingham (2014); News from Nowhere at William Morris Society, Kelmscott House, London (2014); a two person show Unplanned Memories, Transition Gallery, London (2014); Lions on Water and Women in Love at Belmacz, London (2013); Selected Paintings and Sculpture, Kronach, Germany (2013). Forthcoming: Dice Apple Knife, Peter Bergman Galleri, Stockholm.

 

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 {image 4}, 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

Artworks

  • Plaque

    Joel Tomlin

    Plaque, 2015

    wood, gesso, pigment
    43 × 32 × 1cm

  • Pistol

    Joel Tomlin

    Pistol, 2012

    bronze and tempera each individually patinated
    4 × 13 × 10cm

  • Adtz

    Joel Tomlin

    Adtz, 2017

    wood, tempera, steel, nail
    22 × 62 × 10cm

  • Untitled

    Joel Tomlin

    Untitled, 2017

    wood, bronze, nails
    97 × 20 × 20cm

  • Untitled

    Joel Tomlin

    Untitled, 2017

    egg tempera on card, wood, gesso
    45 x 27cm

  • Fig

    Joel Tomlin

    Fig, 2015

    patinated bronze, pigment
    5 × 6 × 5.5cm

  • Vernal

    Joel Tomlin

    Vernal, 2015

    patinated bronze
    22 × 65 × 60cm • ed: 6 + 1 AP

  • Woad Hare

    Joel Tomlin

    Woad Hare, 2013

    charcoal and tempera on paper
    16.5 × 21.5cm

  • Untitled

    Joel Tomlin

    Untitled, 2015

    patinated bronze
    8 × 13 × 11cm

  • Comet

    Joel Tomlin

    Comet, 2014

    charcoal and pastel on paper
    32 × 26cm

  • Nymph

    Joel Tomlin

    Nymph, 2012

    bronze, each individually patinated
    22 × 12 × 7cm

  • Tumblers

    Joel Tomlin

    Tumblers, 2013

    tin, gesso and tempera wooden
    various sizes

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