The exhibition consists of paintings created on various durable textiles, such as industrial curtains and furniture textiles. The structure and texture of the textile influences, and almost dictates, the way the paint is applied, how it behaves and dries. Because the textiles are originally intended other purposes, working with these materials creates a direct link to the environments that we belong to.
Most of the paintings in Marrow are made in a fast pace: in the preparation and planning of a painting, Wyller creates a large number of sketches. The sketches are the vocabulary or skeleton that, when painting, she relies upon. Her new body of works is, therefore the marrow of these sketches. Marrow; the substance that our blood grows and flows from.
The paintings shown in Marrow are more expressive than Wyller’s earlier works: they are darker in colour and form; they gravitate towards associations that are slightly sinister or somber. They display a vibrant process: showing movement, form and place as one singular surface of motifs gesturing towards sensations and experiences, influenced by the winter and the vacuum it creates.
Throughout her artistic practice Wyller is inspired by newer theories and thoughts from process philosophy; the idea that subjects and things are not isolated individuals and matter moving through an environment as a backdrop. Objects, bodies, and their environment influence each other, they are changing, moving, transforming, such as marrow of the bone itself. We only know of our existence, and we exist solely because of our relations with environments and others. The knowledge obtained regarding such relations is more often subtle if not intuitive.
Wyller’s paintings are therefore non-figurative and solely based on the rhythm and movement of form, colour and brushstroke. The background and foreground are a part of the same field as they slip and overlap each other, making it look and feel both spatial and flat simultaneously. Apparent in her works is the artist’s fascination with relational transitions, between things and milieus, especially in relation to the natural world. This is what her paintings embodies at their core, natural transition and movement.
This painting is worming around. It is a little clumsy and coarse. I worked with thin layerings to create a more spatial motif. I was interested in seeing how little one can do to create a space or a room without it looking like a room. This is an assignment I continuously revisit. The composition makes an outline of something familiar without it being possible to quite pin down what it is. It goes from thin to fat in a very uneven way. And still its calm. The background and foreground are connected at the bottom of the painting. There is most light caught in the thinnest layers even though these are darker then other areas of the composition. The denser areas cut through and hang heavy and low. Each field of colour goes from light to dark. None in the same direction. It was a bit like painting a mirage. After time it revealed some kind of sombre, slightly stoic and awkward rumble. I cant quite put my finger on it, and thats exactly what I look for.
- Ilija Wyller
we are of light - everything we perceive is also of light. We all interact with that which reacts to light or the lack of light. I like to think about that when painting. Colour and pigment mixed into oil. Certain components refract and devour selected beams of light and the eye picks up on the rest.
This painting is as stern as it is generous. It has been painted with the same brush throughout. It is not spatial, to me it is very flat. It looks more like the detail of a bigger picture. When I look at it I see reminisces and outlines of figures. The fields of colours are more matter of fact then they are chatty. They remind me of natural bodies and phenomenon in one way or another.
The yellow wisps over the around the dark prussian blue rectangle with a vibrant optimism.
The white field is nestling between the green and blue and arm stretching over to the yellow. The green is a blanket softening the blow.
The action lies between the colours, in the transition. How some of the overlapping is soft and carefree whereas other parts are rigid and sterner. All the same, it is still mild. The painting is a bit of both. It is both matter and anti-matter. It is both wet and dry, fluid and solid. It is both personal and impersonal.
- Ilija Wyller
When I look at this painting, I don´t know quite where to begin. In short, I was interested in seeing how darker colours and shades would work together. There is something about it that reminds me of doom metal, or actually it is more like the embodiment of doom. If this painting was a song it would definitely be about some form of doom. The red looks like a stain that was removed half way in the dark and that clung on to its surface. The black thats more like a muddy teal or turquoise makes it look like a place outdoors. Maybe it looks cold and wet. Maybe it is natural to associate it with aspects of sorrow and disruptive scenarios. It could also be a flickered reflection from the rear of a car light. The density of the strokes at the center of the painting gives away some aggression or instead it might be the structure of foliage, like bushes at the end of a garden. At the bottom this is dissolved and smoothed out. The way it fades into a smooth surface makes me think of films where the protagonist wakes up from a flashback or dream.
- Ilija Wyller