Bruer Tidman puts on a major show at The Cut Arts Centre in Halesworth
The art of Bruer Tidman is of monumental proportions, it is endlessly experimental
yet draws on a life of experience in terms of handling compositions, juggling with
figures, spaces, and abstracted forms with a relentless energy.
Tidman taps into other great artists both as a homage and to re-live, emotionally,
events in their lives. He breaks the Post Modernist dictate in sustaining
a nutritious connection with artists through history. The resulting eclecticism
unmistakably becomes Tidman's unique approach to painting.
In an age that is becoming fettered by political correctness it is refreshing to
experience Tidman's raw explicitness that sees the 'animal' in the human just as
Francis Bacon did and Lucien Freud does. There is great courage in the handling
of figures seen as silhouette shapes in a way that implies form. The colour results
in an emotional presence within the formal structure of the work; the division of
qualities in the way they are handled have a strategy that is intuitive, not
expressionist. There is a conflict between sensual surfaces and aggressive, physical
manipulation; distorted forms create unexpected, incongruous combinations.
Tidman's passion for painting has in part been ignited by the circus and the theatre.
There is an underlying compassion for his people and a special connection with the
maternal. Some figures have a dramatic sense of isolation. There are qualities of
Modigliani, Klee, Picasso, Braque, Nolde, Chagall, Rouault and early Lautrec.
The Tate Modern collection is incomplete without paintings by Bruer Tidman.
The artist has continually made an important contribution to serious painting in
Britain. The work is always surprising, the impact of Tidman's view of the world, once
seen, the images make a lasting imprint. The glories of the building site are
greatly preferable to the non-eventfull buildings that so often result. Tidman's
paintings have a similar rawness, you are drawn into the energy behind the process,
there is no artificial tidying up.
Far removed from the communally produced, photographic, jigsaw-pictograms of Hirst,
Tidman strives for a structural completeness; his refreshingly dangerous looking
educates the eye and wards off complacency.
Photograph - Art Shot International
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