How One Painter Captures the Wonder of Ordinary Spaces

The names of the work in Margaux Williamson’s most up-to-date sequence are as low-key as their topics—Table and Chair, Window, Living Room, Desk, Bed. In portray bizarre objects, the Toronto-based artist brings a spotlight to the areas in and round our houses that often make up the backgrounds of our lives. She animates on a regular basis objects with sweeping strokes of deep blue and brown, and her representations of flowery carpets, tough picket surfaces, and glossy laptops hover someplace between actual and summary.

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In some methods, the gathering is a departure from Williamson’s earlier work, which depicts every little thing from the universe to overripe bananas to Scarlett Johansson. Her 2014 e-book, I Could See Everything, explores the concept of having the ability to see all the world at a distance, whether or not from a mountaintop or by the web. Conversely, “With these paintings,” she says, “it just felt like I landed on the ground and could only see what was in front of me.” Her new exhibition, Interiors, is ready to be hosted on the McMichael Canadian Art Collection, a gallery in Kleinburg, Ontario. When requested concerning the title, she laughs. “I think it wasn’t until they titled the show Interiors that I was like, Oh!” The work had come collectively not by meticulous planning however with an intuitive want to color the bizarre—an impulse Williamson merely adopted. “I didn’t realize I was just literally painting the things around me.”

Table and Chair,

Williamson modelled Table and Chair, one of many earliest works within the sequence, on the concept of a kitchen at evening. Each time she revisited the canvas, she painted a brand new object as she noticed it in that second, not worrying about continuity or realism or planning her composition. She painted the desk from her kitchen, the chair from another person’s room, the black tiles from some other place. For a window, her preliminary intuition may need been to depict it looking on the evening sky. Instead, she brushed the darkest blues into the dappled wooden of the desk, imbuing the piece of furnishings with the expansiveness we regularly search for by our home windows. “The escape is not outside,” she says. “All of the depth and darkness and possibility of that beautiful abstract night had to be in the table.”

Although it was developed in a world earlier than covid-19, the gathering feels oddly prescient. In the early days, simply after the virus was declared a pandemic, many Canadians who had been in a position to started social distancing of their houses—and reevaluating their relationships with home life. But Williamson says she’s used to spending quite a lot of time indoors. As an artist, she’s at all times beloved solitude and dealing alone. Through her artwork, residing areas supply the potential for us to indulge within the current. As our houses tackle totally different meanings—kitchen counter turning into office, front room turning into classroom—Williamson’s artwork encourages us to think about extra. A eating desk may develop into the evening sky, and in confinement, the banal could be filled with chance. 

Flowers, 2020

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