Ann-Marie Tully

Sunday, 6 October 2013

'Wolf in sheep’s clothing', a solo exhibition by Ann-Marie Tully @ NIROXprojects | Arts on Main | Maboneng | Johannesburg | June 2013.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Left,
Wolf in sheep's clothing (2012-2013) & on the Right, Icarus (2013).

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the far Left, Brak
(2013) & on the far Right, Let sleeping dogs lie - George (2011).

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Left,
Let sleeping dogs lie - George, & on the Right, Dog-eat-dog series (2010-2013).

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view:

Dog-eat-dog series (2010-2013).

Ann-Marie Tully, Let Sleeping Dogs Lie - George, 2011. Gesso and oil on Fabriano,

70cm x 100cm.

Ann-Marie Tully. Dog—eat—dog: Gas Mask I, 2013. Gesso

and oil on Fabriano

Ann-Marie Tully. Dog—eat—dog: Gas mask II, 2013.
Gesso and oil on Fabriano.

Ann-Marie Tully. Dog—eat—dog: Nabis gas mask, 2013. Gesso and oil on Fabriano.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Right,
Furbourough frog sculptures (2013), & on the far Left, Lamb to the slaughter (2013)
series; & Let sleeping dogs lie - Max (2012) and Tessa (2011) in the middle.

Ann-Marie Tully, Furbourough Frogs ( 2013). Two ceramic, cobalt oxide frog sculptures,
mirrors, faux fur, antique ball and claw kist.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt, (2013).

Ceramic, cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Lord of the plains and domestic godesses, (2013).
Ceramic, cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Let Sleeping Dogs Lie - Max, 2012. Gesso and oil on Fabriano,

70cm x 100cm.

Ann-Marie Tully, Let Sleeping Dogs Lie - Tessa, 2011. Gesso and oil on Fabriano, 70cm x 100cm.

Ann-Marie Tully, Lamb to the slaughter IX. Ink on Fabriano 210mm x 230mm.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Left, Icarus (2013),
the Fleeced (2013) series in the middle, and Dumb valet (2013) on the right.

Ann-Marie Tully, Icarus, 2013. Gesso and oil on Fabriano, found fur shawl, cotton thread.

2500mm x 700mm.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: Fleeced (2013) series.

Cotton waste and thread on Fabriano. 430mm x 380mm.

Ann-Marie Tully, Fleeced III & IV (detail). Cotton waste and thread on Fabriano.
430mm x 380mm.

Ann-Marie Tully, Fleeced V (detail). Cotton waste and thread on Fabriano. 430mm x 380mm.

Ann-Marie Tully, Fleeced IV (detail). Cotton waste and thread on Fabriano.
430mm x 380mm.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Left, Icarus
(2013), the Fleeced (2013) series in the middle, and Dumb valet (2013) on the right.

Ann-Marie Tully, Wolf in sheep's clothing (2013) mezzanine installation view.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Left, Dumb valet
(2013), Metamorphoses (2012) series, and Running with the hares and hunting with the
hounds (2013) in the middle. Brak (2013) on the right.

Ann-Marie Tully, Metamorphoses (2012) series. Indian ink, cotton, paper.

Ann-Marie Tully, Metamorphoses: Judas goat (2012).

Indian ink, cotton, paper.

Ann-Marie Tully, Brak I, 2013. Gesso and oil on Fabriano. 1500mm x 1500mm.

Ann-Marie Tully, Running with the hares, and hunting with the hounds,
2013. Gesso and oil paint on Fabriano, faux fur, cotton thread.

Ann-Marie Tully, Dumb valet, 2013. Wooden furniture, fur shawl, mirror.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Left, Let sleeping
dogs lie - Jessica (2011), the Curl up and die (2011) series in the middle;Las Meninas IV
(2013) in the foreground, and Shewolf I (2012) in the background.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: Curl up and die (2011)
series. Oil on paper, 21 x 30cm.

Ann-Marie Tully, Let sleeping dogs lie - Jessica. Gesso and oil on Fabriano, 35 x 50cm.

Ann-Marie Tully, Las Maninas IV (top front view), 2013. Ceramic, cobalt oxide, mirror.
(H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Right, Room to
swing a cat (2013) series, and Shewolf I (2012) in the background.

Ann-Marie Tully, Shewolf I. Gesso and oil on Fabriano, cotton, faux fur, 100 x 70cm.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Left, lamb to
the slaughter (2013), and the Room to swing a cat (2013) series.

Ann-Marie Tully, Room to swing a cat II & III (2013) installation view.

Ann-Marie Tully, Room to swing a cat II, 2013. Gesso and oil paint on Fabriano,
140 mm x 210 mm.

Ann-Marie Tully, Wolf in sheep's clothing (2013) installation view: on the Left, Furborough
(2013) frog series, & on the Right, Wolf in sheep's clothing (2012-2013) ).

Ann-Marie Tully, Wolf in Sheep's Clothing I, 2012-2013. Gesso,
oil paint, found dress, faux fur, and cotton thread on Fabriano.
2500mm (H) x 650mm (W).

Ann-Marie Tully, Wolf in Sheep's Clothing I, (detail), 2012-2013.
Gesso, oil paint, found dress, faux fur, and cotton thread on
Fabriano. 2500mm (H) x 650mm (W).

Ann-Marie Tully, Wolf in sheep's clothing (2013) mezzanine installation view: in the
foreground, Las Meninas II & III (2012-13), Let sleeping dogs lie- Flying Poppit
(2012) on the Right back; and the Room to swing a cat (2013) series at the staircase.

Ann-Marie Tully, Wolf in sheep's clothing (2013) mezzanine installation view:
Let sleeping dogs lie- Flying Poppit (2012).

Ann-Marie Tully, Let sleeping dogs lie - Flying Poppit, 2013. Gesso and oil on 100%
cotton Fabriano.

Ann-Marie Tully, Room to swing a cat (2013) series descending
the staircase.

Ann-Marie Tully, Room to swing a cat IV, 2013. Gesso and oil paint on Fabriano,
140 mm x 210 mm.

Ann-Marie Tully, Room to swing a cat V, 2013. Gesso and oil paint on Fabriano,
140 mm x 210 mm.

Ann-Marie Tully, Room to swing a cat VII, 2013. Gesso and oil paint on Fabriano,
140 mm x 210 mm.

Ann-Marie Tully, Wolf in sheep's clothing (2013) mezzanine installation view.

Ann-Marie Tully, Wolf in sheep's clothing (2013) mezzanine installation view: in the
foreground, Las Meninas II & III (2012-13), and Lamb to the slaughter (2013) works
on the far wall.

Ann-Marie Tully, Lamb to the slaughter I & III (2013).

Indian ink on Fabriano, 210mm x 220mm.

Ann-Marie Tully, Lamb to the slaughter VI (2013). Indian ink on Fabriano,
210mm x 220mm.

Ann-Marie Tully, Let Sleeping Dogs Lie—Jessica & Tessa (2012). Gesso &

oil on paper, 300mm x 420mm.

Ann-Marie Tully, Las Maninas II & III (2012-2013). Ceramic, cobalt oxide, mirror.
(H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Las Maninas II (2012-2013). Ceramic, cobalt oxide, mirror.
(H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Las Maninas II & III (2012-2013). Ceramic,
cobalt oxide, mirror. (H) 120mm x (W), 130mm x (D) 100mm.

Ann-Marie Tully, Cat of nine lives, 2012 (mezzanine table).Found fur object, cotton waste,
wood. 230mm x 230mm.

Ann-Marie Tully, Cat of nine lives, 2012. Found fur object, cotton waste, wood.
230mm x 230mm.

Ann-Marie Tully, Dogma: Lupine Madonna I & II, 2011-2012. Acrylic, oil and cotton
on found textile, embroidery hoop, 150mm diameter.

My art and research practice is concerned with the lives of animals, the relation of the human to the non-human, and the reductive representation of animal beings. The tendency of the human to express the self through the allegorical vehicle of the animal (animal-autobiography)[i] is measured and disarticulated in this visual body of work including oil paintings, textiles and ceramics.

Philosophically and materially animals have long been the most estranged and disempowered creatures on earth — the Aristotelian and Cartesian theses have proposed animals as little more than automata.[ii] This derisive philosophy has embedded itself in cultural practices, language and [un]consciousness; erasing the agency of non-human beings. Artworks featured on this exhibition address this human/animal dialectic.

[i] Derrida, J. 2002. The animal that therefore I am (more to follow). Trans. D. Wills. Critical Inquiry 28(2):402.

[ii] Lippit, A. M. 1994. Afterthoughts on the animal world. MLN. Vol. 109, No. 5, Comparative Literature Issue (December). John Hopkins University Press:89.

Friday, 5 July 2013

Furborough Frogs

Ann-Marie Tully, Furbourough Frogs, (installation view on the Wolf in Sheep's Clothing

exhibition), 2013. Two ceramic, cobalt oxide frog sculptures, mirrors, faux fur, antique ball and

claw kist..

Ann-Marie Tully, Furbourough Frogs, (installation view on the Wolf in Sheep's Clothing

exhibition), 2013. Two ceramic, cobalt oxide frog sculptures, mirrors, faux fur, antique ball and

claw kist..

Ann-Marie Tully, Furbourough: Lord of the plains and domestic goddesses, 2013. Ceramic, cobalt

oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Lord of the plains and domestic goddesses,

2013. Ceramic, cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm

x (D) 100mm.

Ann-Marie Tully, Furbourough: Lord of the plains and domestic goddesses,

2013. Ceramic, cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm

x (D) 100mm.

Ann-Marie Tully, Furbourough: Lord of the plains and domestic goddesses,

2013. Ceramic, cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm

x (D) 100mm.

Ann-Marie Tully, Furbourough: Lord of the plains and domestic goddesses, 2013. Ceramic, cobalt

oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Lord of the plains and domestic goddesses, 2013. Ceramic, cobalt

oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Lord of the plains and domestic goddesses, (detail) 2013.

Ceramic, cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Lord of the plains and domestic goddesses, 2013. Ceramic, cobalt

oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Lord of the plains and domestic goddesses,

2013. Ceramic, cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm

x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt, 2013. Ceramic, cobalt

oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt, 2013. Ceramic, cobalt

oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt, 2013. Ceramic, cobalt

oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt (detail), 2013. Ceramic,

cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt (detail), 2013. Ceramic,

cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt, 2013. Ceramic, cobalt

oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt, 2013. Ceramic, cobalt

oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt,

2013. Ceramic, cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm

x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt,

2013. Ceramic, cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm

x (D) 100mm.

Ann-Marie Tully, Furbourough: Mrs Siddons and the infanta of the hunt (detail), 2013. Ceramic,

cobalt oxide, mirror, faux fur. (H) 120mm x (W) 130mm x (D) 100mm.

The Furborough Frog series (2013) of cobalt oxide-painted ceramic frog sculptures contemplate the decorative translation of animal beings in human visual culture. The choice of frogs as an ‘animal-ground’ to paint onto, is informed by human indifference and repulsion towards reptilian creatures; as well as the association of frogs with catastrophic biblical plagues, and sorcery. The frog sculpture that the works are based on is a decorative object created by my father, and is striking in its ‘benevolent’ anthropomorphic characteristics; considering the generally malign perception of frogs. The domestication of the animal is also a phenomenon associated with ornamental and illustrative representations of animals; serving to obfuscate the real creature. The slip-cast seams are not removed from the ceramic frogs, thereby interrupting a ‘smooth’ transition from the animal-in-the-world into the realm of human consumption.

The decorative cobalt paintings on the frog-surfaces reference the Willow, Oriental and Delft ceramic traditions, that frequently employ animal and nature motifs. Following on from the Las Meninas Frogs series, which referenced DiegoVelázquez’s Las Meninas (1656) figures and Pablo Picasso’s association of the infanta and her maids with paintings he produced of pigeons; these works depict two of Picasso's renderings of Velázquez’s infanta and her dog (which Picasso altered into the form of his dachshund, Lumpito). On the rear of the frogs, scenes from Thomas Gainsborough's oeuvre - Mrs Siddons (1785) and Mr and Mrs Andrews (1750) - are rendered to accentuate and parody the themes of human ownership of animal bodies and natural spaces that undergird these iconic images. These land-owning Gainsborough characters point to the fluid transfer of human narrative onto the animal vehicle. The Picasso/Velázquez figure of the infanta is in intertextual conversation with the earlier Las Meninas Frogs series which enacted the seamless imposition of human biography onto animal receptors: Velázquez's maids into Picasso’s pigeon-maids, and now into my frog-maids; a cultural process that enables the subjugation and assimilation of difference.

The material reference to decorative ceramic traditions (domesticated animal objects and scenes), points to the ubiquitous and quotidian presence of anthropocentrism.