To celebrate Tina Jenkins’ Hystoria opening at Mall Galleries, we have created an ‘Essential Guide’ to the artist and her work
These works have come out of an initial interest in the subject of hysteria. I am not trying to illustrate or express the hysterical in my paintings but whilst contemplating the subject, ideas and compulsions become starting points for making works.
It is underlay for buildings, so sometimes it has dents and marks. I wanted it to look really pristine and I would ring the suppliers and say, ‘It’s damaged!’ and they would reply, ‘Well, it’s for buildings’.
But I am getting less and less annoyed about it, it is what it is. It retains a lot of the marks of the working process and it’s the trauma of the work that comes through.
Sometimes the figures go in first. They are painted just on clear plastic and then, I turn it round and cover the background so that the colour shows through.
With a knife, I cut bits and tear them down; some parts come off really easily, others make a whole area rip off. I will go on to fill in the gaps and back to cutting, ripping and backfilling again and again.
The Bad Bits
A bad bit for me is something that I can’t reconcile in my mind. I take them out and then fill them in again and bad bits will get back in. Playing around with everything that I feel is wrong is very subjective. Other people might not see it as wrong, but for me it’s just not right.
I will continually work through an area until it becomes something that I can bear. You peel away and sometimes a whole figure is gone.
Recycling and Discarding
I have a real problem with throwing away the ripped bits of paint. I use tape to take them off so nothing goes to waste. I have boxes and boxes of archived ripped paint. I used to work with oil based gloss which I found very problematic in terms of landfill, but even though the paint is now waterbased, I still don’t want to just stick it in the bin.
I have to do it like that. For parts of ‘Hystoria’, I have taken pages from old auction catalogues and the discarded paint that I have removed from my paintings and bound them together. These catalogues list the estimated value of the objects they depict. The objects once sold, render the catalogue as a defunct guide of proposed value past. A historic record of image and value gained and lost.
Painting and Hysteria
Because of the way I create my paintings, I am always analysing what I am doing and why I am doing it. Looking at different artists and thinking about the whole history of painting in terms of different types of abstraction, makes you wonder whether you can re-do those processes. Exploring and constantly replaying these notions, means that the paintings themselves were becoming more hysterical. I was thinking that if they were hysterical, then what does this sort of painting look like. And if that is hysterical, what does it have to offer painting as opposed to more traditional approaches.
Painting is a way of thinking. You see certain works and it feels that the person that made them is a painter and it could quite often be a sculptural work, or an installation, or anything. It is a way of putting things together. Painting is not something you define by the act of painting. It is about a certain way of thinking things through.
30 March to 11 April 2015
10am to 5pm
Closes 1pm on final day