An introduction to: Tessa Lynch
For most of us the daily commute to and from work is a necessary evil – sometimes eventful but rarely enjoyable. However, it is an integral part of our daily routine.
In Tessa Lynch’s latest exhibition for this year’s festival she uses the mundane and regular transitions between home and work life to generate a self-portrait, exposing what it is to be a female artist living in this city.
Lynch describes her new work as an architectural drama. “ This exhibition is about the emotional impact to the built environment,” she explains. “I like thinking about the two concepts architecture and drama together. The drama is created by the people moving through the city space.”
“Another way to describe this concept is that it mimics the built environment. In this instance it has elements of subways, shopping precincts, seating perches from bus shelters and billboards – all mimicking the built environment.”
“My approach to making also stems from an interest into how the artist navigates the city. To achieve this I created a couple of hi-tech machine fabrications with lo-tech artist techniques. The experience of the artist’s hand some how undercutting the dictated design of the built environment.
Where does the painter’s table in the title fit in this exhibition? “The reference is fairly anecdotal and connected to a day my commute was interrupted by a painter’s table blocking the M8 motorway. Glasgow was at a standstill.
“I thought the term ‘painter’s table’ was a type of traffic incident, interrupting traffic on the M8 through perhaps a terribly messy accident. But it was in fact a painter/decorator’s table that had fallen from a van on to the road.
“I really liked thinking of the artist/painter interrupting the commuting infrastructure, and how I could use the table to interrupt the space in the gallery.
“In the show there is a large table-like sculpture that interrupts the flow of the space.
“For me the words ‘painter’s table’ evokes a slow, quiet reflection, the artist choosing materials, making considered decisions, a total clash with the M8 commuters. On this one day the painter’s table physically slowed the commuters down.”