Wilma Tabacco

Gilt Edge

In the practice of Italo-Byzantine painters, and in the making of illuminated manuscripts, employing gold leaf was a painstaking process, but one guided by established workshop procedures and networks of supply for the components of bole, glue, and the gold, reduced to leaf by prolonged hand work.

Art Exhibition previously on at Langford 120 in Victoria, Australia.
From Saturday 01 June 2013 to Sunday 30 June 2013
Launch Saturday 01 June 2013, 2pm - 4pm

Gilt Edge 2013 image Dreamscape1 image Dreamscape 2 image Dreamscape 3 image Goldfield image

Published by anonymous on Friday 31 May 2013.
Contact the publisher.

The 21st century artist who essays to explore this material, lacking the guidance of an inherited tradition, must painstakingly accrue the necessary facility in handling the application. In reflecting on the space of representation and the representation of space Ernst van Alphen traces distinctions between landscape painting, in which the viewer is solicited to merge into the space, and architectural painting, in which “….the implicit presence of the subject takes the form of a struggle: the painting keeps setting up obstacles that make the viewer more and more eager to look behind them”. This relationship involves a reflexivity which troubles the more straightforward mediaeval emphasis on the materiality of the surface: in Wilma Tabacco’s paintings, the clinging skin of gold both reveals and conceals the flow of the medium. The complex, sharply angled forms created by the metallic foils in Tabacco’s work leave a residue of fragments, rough edged, light as feathers. Like the clouds of ash, softer than snow, which arise from volcanic activity these disiecta membra appear to have drifted down on to the surfaces of the Dreamscapes, where they are gripped and held.

Sophia Errey