View of “Nicola Tyson,” 2017. From left: Outside 1, 2017, Outside 2, 2017.

Nicola Tyson

Sadie Coles HQ | Davies Street

View of “Nicola Tyson,” 2017. From left: Outside 1, 2017, Outside 2, 2017.

Nicola Tyson’s painted forms are bodily. In some, I see human traces. In others, I see animals, trees, and plants. Her subjects are natural bodies—all living entities. They are not perfectly formed, however. Tyson creates them with light, broad sweeps of acrylic paint, using a dry brush, exposing slivers of white linen canvas, revealing the paint’s movement across the surface. Tyson’s recent exhibition “A Tendency to Flock” consisted of seven paintings in a rich palette of dark red, burnt orange, and varying shades of blue (turquoise, baby, sky) and (green forest) alongside numerous browns, pinks, and yellows, invoking qualities of flesh and hair that are not necessarily human. For example, Outside 1 (all works 2017) depicts an entity that is animalistic in its rounded body complete with pink teats; plantlike via its bark-brown branches; and quasi-human in its facial traces.

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