The Art of Unlearning: Rose Wylie's Subversive Paintings
In the realm of contemporary art, where progress is a fading concept, Rose Wylie's paintings stand out like a rebellious child refusing to grow up. J.J. Charlesworth's contemplation on Wylie's work raises an intriguing question: What does painting demand of its practitioners in an era seemingly devoid of artistic evolution?
A Deliberate Naiveté
Wylie's canvases, with their cackhanded handling and crude lines, are a manifesto for unlearning the very essence of what we consider 'good' art. Her subjects, often rooted in personal history, are rendered with a playful simplicity, as if she's thumbing her nose at the notion of artistic mastery. This deliberate naiveté is a form of defiance, a rejection of the weighty expectations that once burdened artists.
Hieroglyphs and Icons
Wylie's paintings are more hieroglyphic and iconic than representational. In works like 'Wing Tips and Blue Doodlebug', she uses a childlike simplicity to convey complex historical narratives. The drama is in the scale and the symbolism, not in realistic rendering. This approach, I believe, is a clever way to engage viewers who might otherwise be intimidated by high art.
Everyday Subjects, Extraordinary Treatment
What many don't realize is that Wylie's choice of banal, everyday subjects is a subtle form of rebellion. In paintings like 'Breakfast' and 'Yellow Strip', she elevates the mundane to the level of art, challenging the notion that art must be grand and profound. This is a refreshing take, especially in a world where art often feels inaccessible to the average person.
Feminine Perspectives
Wylie's treatment of femininity is particularly intriguing. Her paintings of women, often with a touch of humor and a nod to paper dolls, seem to mock traditional beauty standards. This is a feminist statement, but one made with a light touch, almost as if she's saying, 'Why take it all so seriously?' It's a playful critique of the pressures women face, and a celebration of the freedom to be oneself.
The End of 'Bad Painting'?
Wylie's style, reminiscent of the 'bad painting' movement of the past, raises questions about the evolution of artistic trends. In the 1990s, the political edge of 'bad painting' seemed to fade, giving way to a more relaxed, everyday aesthetic. Wylie's work, however, keeps this style alive, but with a twist. She doesn't just 'deskill' for the sake of it; there's a method to her madness.
Private Space, Public Status
The large-scale canvases, despite their simplistic subjects, command attention. Wylie's paintings, with their private, almost diary-like nature, still manage to assert a public presence. This is a fascinating paradox: in a world where painting's demands are seemingly minimal, Wylie's work demands to be seen and discussed. It's as if she's saying, 'I'm here, and I'm painting on my own terms.'
The Future of Painting
Wylie's art prompts us to consider the future of painting. In a world where technical mastery is often prized, her deliberate amateurism is a bold statement. It challenges the very foundations of what we value in art. Are we moving towards an era where the personal and the private take precedence over technical prowess? Only time will tell, but Wylie's work is a compelling argument for the power of individual expression, free from the constraints of tradition.
