Tom Loveday and Lisa Jones, Hiding in the Shadows
Five Walls Projects, 2022
While this was not strictly a solo show, I think of it as such. Lisa and I worked together with a single idea to which we responded within our respective art practices. Also, in order to affirm our working together we chose quotes rather than theoretical essays to accompany the exhibition.
For Lisa Jones:
And who would not be inspired to take his departure if his words could strike to the heart of Berlin, as Hessel does with his Muses from Magdeburger Strasse? “They have long since vanished. Like quarry stones they stood there decorously holding their ball or pencil, those that still had hands. Their white, stone eyes followed our footsteps, and the fact that these heathen girls gazed at us has become part of our lives.”
And: “We see only what looks at us. We can do only… what we cannot help doing.” The philosophy of the flâneur has never been more profoundly grasped than in these words of Hessel’s.
Walter Benjamin, The Return of the Flâneur, in (Michael W Jennings et al eds), Walter Benjamin, Selected Writings, Volume 2, Part 1, 1927-1930, Belknap Press and Harvard University, 1999, p. 265.
Lisa Jones, Beneath our feet, 2020 – 2021, Pencil on 360gsm Khadi paper, 30 x 30 cm to 56 x 56 cm.
For Tom Loveday:
Short Shadows. Towards noon, shadows are no more than sharp, black edges at the feet of things, preparing to retreat silently, unnoticed, into their burrow, their secret being. Then, in its compressed, cowering fullness, comes the hour of Zarathustra – the thinker in “the noon of life,” in “the summer garden.” For it is knowledge that gives things their sharpest outline, like the sun at its zenith.
(Walter Benjamin, 1929, in Michael W Jennings, Howard Eiland and Gary Smith, Editors, Walter Benjamin, selected writings Volume 2, part 1 1927-1930, Belknap Press, 2005, p. 272.)
Look, it is coming, it is near, the great noon.
(Zarathustra, in Friedrich Nietzsche (Adrian del Caro trans and ed and Robert Pippin ed), Thus Spoke Zarathustra, Cambridge University Press, 2006, p 153.)
Tom Loveday, Dark Edge, 2022, 52 panels, synthetic polymer paint on heavy weight plastic tracing film, each panel 29.7 x 42 cm, overall dimensions variable.
Tom Loveday, Over the Edge
Kronenberg Mais Wright Gallery (Now Mais Wright Gallery) 2022
Over the Edge is one of a series of exhibitions of “Edge” paintings, as indicated in their titles. The series consists of The Edge of the World, The Erotic Edge, The Edge of Reality and Over the Edge. Produced over a period of 8 years, each exhibition in the series experiments with ideas about colour, geometry and space using a range of techniques drawn from 1960s Op Art, especially the work of Bridget Riley and Victor Vasarely.
Tom Loveday, Edge of Reality
Kronenberg Mais Wright Gallery (Now Mais Wright Gallery) 2018
Copies of the artist talk and room sheet essay can be found at:
Tom Loveday, Edge of Reality 4, 2018, Acrylic On Canvas 107 x 107 cm can be seen at Artbank, https://www.artbank.gov.au/search
Tom Loveday, Erotic Painting
Conny Dietszchold Gallery 2017
Copies of the artist talk and room sheet essay from the exhibition of these works can be found at:
Tom Loveday, Edge of Reality 4, 2018, Acrylic On Canvas 107 x 107 cm can be seen at Artbank,
Tom Loveday, Infrathin Advice for Aliens
Wollongong Art Gallery, 2015
Infrathin, Advice for Aliens is a mixed media work consisting of an array of 54 small paintings, 3 larger paintings, a book and a video. The exhibition uses the Duchampian idea, “infrathin” and linguistic play on the words “alien” and “alienation.” Infrathin: Advice for Aliens is addressed to “aliens.” For aliens, there is no distinction between representation and reality – the world is simulacra. This is because aliens, being from another world, have no compatible world-view with here and now, no sense of the hierarchy of objects that we have and no grasp of the signs by which we navigate the world and construct “reality.” Alienation thereby seems to be pathological to us and so they need our help to survive. Meaning is reduced to its most superficial, the aesthetically minimal and the surface effects of symbols and shapes in painting, moving image and text.
Tom Loveday, Alien Song, 2012, Sample 1
Tom Loveday, Alien Song, 2012, Sample 2
Tom Loveday, Alien Song, 2012, Sample 2
Tom Loveday, Textworks
Peloton Art Projects 2014
Text works with video and colour.
Tom Loveday , Textworks, 2014, video installation, in Textworks, 2014, Peloton Art Projects
Tom Loveday, The Edge of the World
Conny Dietszchold Gallery 2013
Colour is not a quality. Colour is a power.
Tom Loveday, Memorial
Dominik Mersch Gallery, 2009
Tom Loveday, The Planets
Sydney College of the Art, University of Sydney 2004-6
Tom Loveday, Flat
Sydney College of the Arts University of Sydney 2002