Toby Ziegler

Failed study for a ouija board (2), 2017

Oil Paint on Aluminium

100 x 120 cm


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Artwork
Description

Toby Ziegler is interested in how images of famous art works exist in the world. If you type Matisse’s ‘La Danse’ into Google images, you are subject to an endless grid of reproduction. Ziegler takes this page as a starting point. The artist reproduces the digital images by hand onto an aluminum panel; an arduous process that allows for the artist’s own technical idiosyncrasies to emerge. Once the grid of images has been detailed onto the panel, Ziegler then subjects them to a process of erasure, which he refers to as ‘evacuation’. This involves the use of sanding equipment and correction fluid in order to work the images away, exposing them to the effects of materiality: wear, degradation and damage.

The pink lattice in ‘Failed study for a ouija board (2)’ adds another window atop the digital one that is Google’s image search grid; the original images of Matisse’s work become subject to Ziegler’s own process. They are recast under his own hand into a set of prescribed conditions, which reconfigure the discourse between digital images and the human eye, between the order of the digital domain and the chaos of abstraction.

About
the artist

Toby Ziegler (b. 1972) is a British artist who lives and works in London. He graduated from Central St. Martins School of Art and Design in 1994.

Ziegler’s practice encompasses both painting and sculpture. His work involves the manipulation of perception: abstraction and figuration fraternise, classical compositions surrender to digital reworking. Ziegler begins with mined Internet images and coerces them into material form, fashioning an exchange between the virtual and the actual. The starting point may vary: Matisse, Constable or Dutch still-life. Once selected, however, the image is inscribed onto either canvas or aluminium panels by Ziegler’s own hand, an intricate and meticulous process that allows for the appearance of the artist’s own idiosyncrasies. Following the application of paint, the image is subject to a period of erasure, which Ziegler refers to as: evacuation. Evacuation involves the use of correction fluid or a metal grinder in order to distort and degrade; reducing the image down until Ziegler deems that what is left is, necessary.

Ziegler’s works are terrains both familiar and strange: the transformative process designed to test the limits of imitation against a Neo-Platonic system of ideals. This is what underpins the sequence of images, which loop on LED screens in many of his exhibitions. The screens recite the conversion of the originally selected source material into Ziegler’s own works, and then the permeation of that work into popular culture. The suggestion being that contemporary art and pop culture are the by-products of the same – imperfect – process of imitation.  For Ziegler, it is the duty of the artist to interpret the mechanisms behind this process, to reveal all its mimetic and degraded nuances.


Ziegler’s works are terrains both familiar and strange: the transformative process designed to test the limits of imitation against a Neo-Platonic system of ideals. This is what underpins the sequence of images, which loop on LED screens in many of his exhibitions. The screens recite the conversion of the originally selected source material into Ziegler’s own works, and then the permeation of that work into popular culture. The suggestion being that contemporary art and pop culture are the by-products of the same – imperfect – process of imitation.  For Ziegler, it is the duty of the artist to interpret the mechanisms behind this process, to reveal all its mimetic and degraded nuances.


Toby Ziegler
on Artuner

Part of the
exhibition

February 28th, 2017 until
April 15th, 2017
Curated by ARTUNER