Ptolemy at the Tate
The Tate Modern. The largest public art collection in the UK. Home to some of the most well known artworks in the world; Matisse’s ginormous and iconic “The Snail” cut out, Hockney’s “Bigger Splash” and who could forget Warhol’s Marilyn diptych that propelled the artist into fame. So it would seem unfeasible that as a new art consultancy we would be able to work with a living artist who has her work in their collection….wouldn’t it…?
Admittedly the Tate is a place to avoid on weekends or public holidays but next time you visit, we recommend a trip to the restaurant for a chance to see one of the most exciting artists we have the pleasure to be working with, Ptolemy Mann.
Mann is a weaver first and foremost. At the RCA her tutors pushed her away from painting and steered her towards the loom. Whilst tapestry was traditionally hung on a wall Mann chose to stretch and frame hers, giving it the pride of place it deserved amongst paintings. Yet in the past her art was dismissed for being a “craft” rather than fine art. Weaving being a perfectly fine activity for women to do in their free time but nothing more.
In 2019 all that changed when the Tate commissioned her to create a site specific installation for their new Blatvatnik building. Mann’s woven triptych is called, Circadian Rhythm and is pictured at the original install with Ptolemy below.
A commission from the Tate is an opportunity that many artists could never dream of, it is truly an incredible honour. Circadian Rhythm, is a joyous work that explores through colour how we respond to the sun’s movements, and is now permanently hung in the restaurant in the main Tate building on the 6th floor.
We first met Mann just after lockdown, when alongside her weaving she had just started painting directly onto wet paper for the first time, watching how the colours bled freely into one another. Then, in the last year Mann has reconsidered her practise and has sone something truly special. She has begun to paint directly on to her woven canvases.
This new method came at a time of personal crisis for Mann. At first she was hesitant to change her woven pieces that had already been a labour of love. What if she ruined them completely?
The results however speak for themselves and prove that in those moments of uncertainty and indecision you have to trust the process for something truly magical to happen.
Through this innovative technique of thread painting, she challenges the viewer to consider, what is a painting?
As is clear from her work, Mann is interested in the relationships between colours and their affective potential. For her, painting is an expression of the material world. Optical effects and natural phenomena inspire her to explore the possibilities of her chosen materials: dye, thread, paper, paint and time. Through their rapid and/or laborious application she creates a multi-layered meditation on light and colour.
These works more than most are truly best experienced in real life. So get in touch if you want to know more.
