The Pseudo-Realism series evolved collaboratively, pursuing the rare act of painting together, two independent entities, joining forces and perspectives to reflect upon societary and environmental issues, sharing one canvas. From intuitive sketches, collages were born and from these eclectic collages full blown, technicolored paintings of what we so far called pseudo-realism, as an attempt to mock and innovate.
How relevant is painting in 2019 you may ask?
In current context it is very hard to justify the value of paintings as a carrier of any innovative or significant meaning, thinking of how many media an artist may have right at his hand and how ancient painting as a medium might seem in contrast. Two-dimensional and limiting. Frowned upon by conceptuals, questioning: Could the idea be communicated in a more suitable form? Classic academic art may be downed as crafty, easy, awe-inducing, beautiful, yet interestingly enough it still proves very sought after if one only dares to look at the walls of spaces, where art is acually sold. As always the audience slacks behind the artists themselves and so does the whole orchestratorial gremium of the art market.
The whole series started out as a playful joke TBC played on themselves and on Veru’s classical painting skills, as well as their subtle insider jest on this very art world they try to survive in. Outside of the safe-space of the art institution, promising greener pastures to its students within the highly expressive yet also precarious realms of digital and performance art, the self-engaged art world, still seems to be clinging to the idea of the “holy object”.
After enduring the rolling eyes in critiques, as well as, gentle remarks about moving on toward a more reflective approach, questioning their own behaviours, briefly deciding to put aside the joy of traditional media, finally, maybe against their better judgement, TBC started looking for a new path of justifying and understanding their “crafty” urges through a new series of conceptual collaborative pieces. The series was shown in September 2019 at @THEOFFSPACE as part of TBC’s Solo Show: Celebration of Decoration Pt.1 Pseudo Realism(TMC.ALL RIGHTS RESERVED.).
Slipping into a role of sophisticated interior decorateurs, TBC started out by shamelessly decorating their apartament. The Duo decided to follow their carnal intuition and embrace the unembraceable, the aforementioned, so called blatancy of creating objects of beauty and desire. Well not exactly…
The paintings show all characters cynically squished together, with a happily discontenting aura of horror vacui.
Colorful, richly contrasting, vibrantly screaming and grinning assemblages of average personas seem undisturbed by the peculiarities taking place around them and not only how their surrounding forms them, but also how they form what surrounds them along the way. These characters reflect darker sides of our culture back to the viewer in a humorous manner – a way to confront the viewer without alienating them. As in TBC’s motto: Humour is a gun. The series is supposed to turn into a constantly growing cycle of stories, worlding TBC’s distorted fantasies. Most of these paintings will evolve into Diptichons/Triptichons etc., because that’s what serious painters do. *wink wink*
They opted in for Acrylics. Nevertheless, the paintings, are not painted in the popular à la prima method, popularized in the early modern times by the impressionists as the ultimate method, which might work for some, yet with which you may never attain the same deepness of color as one can through multiple teeny-tiny glazes.
The works are medium-scaled: either 80 x 100 or I00 x 140. Through medial discussion and experiments after completing 4 complex works (roughly 2-3 months of work per piece), finally the artist were able to find a method which suits then best: sketch, grisaille in a required color chroma, transparent glazes on top of the shadows, relatively thick highlighting sometimes tinted, sometimes not. Simply said an twisted old master’s technique for acrylics.
As the last step layers of UV reflective color are added, applied in a manner invisible in the daylight. The duo works in different light settings and the paintings come alive throughout the night where the cheerful colors unexpectedly turn, revealing their true shades through flashing RGB lights(as shown in the video featured above), invoking not only a psychedelic effect, but also bringing in technological innovation. Artificial light creating an artificial world.
They’ve been shown in natural as well as the aforementioned rave-reminiscing lighting(just as hung at TBC’s Studio/Apartment -under cheap RGB straps), challenging the classical medium with a mixture of pop-cultural reference. The goal is to create an alternate world, a replika, a pre/post-apocalyptic, utopian, dystopian or anti-utopian fantasy of reality as perceived by sources of contradictory origin, including p.ex the interweb or the way people decide to present themselves or have been presented. A dark fantasy about the world as it is, could be or hopefully never will be. A living document to surpass humanity’s nightmares and dreams.