ONE SOLO SHOW TO SEE THIS SEASON
This arbiter’s radar is always attuned to ArtNet types who’ve lately been buzzing about a new one-man show as ”must-see” this new Art season.
The new paintings from the West Hollywood based artist Todd Williamson currently on show at the West Broadway Georges Berges Gallery. The bombastic gallerist himself exults ”this is a stunning new series of work from an unquestionable rising contemporary American artist.”
The artsy-fartsy chattering class know full well that Georges Berges is the most controversial and talked about Soho gallerist of the 21st Century. Not since the Basquiat/Warhol go-go art scene days of Leo Castelli and Mary Boone has a West Broadway gallerist been such the talk of the art of the town. A lot of that buzz is because, Mr Berges– the most media savvy art world disruptor working today– is the one who discovered the most intriguing art talent whose work the whirl cannot wait to
dissect in one, Hunter Biden. Surely next Spring the debut of that one man show will be the talk of the town too but for now we have to highlight the impressive new work on view right now on show on West Broadway. Todd Williamson is Berges’– other Hollywood based artist and a well seasoned museum collected and highly regarded best-selling California painter. ”His work, yes, is influenced by the 50’s abstract expressionist movement but beyond that Todd’s work exhibits power and reflection.” And, indeed, the new work preens with a sublime force of rigor and precision. ”His genius,” Berges furthers, ”and what propels the ROI (Return On Investment)– is the unique application process he’s developed. Todd has totally re-invented the traditional methodology of oil to canvas with this new work.” The wiping, the sanding, the scraping, the dry brushing over repeating the process over and and over again is very labor intensive ”but brings a new level of opacity and subtle color variations.” And all from basically one color! That indeed is why Todd Williamson is one of the post-millennial American art talents with burgeoning pedigree. And so GW sought further probe and parry with the California artist Todd Williamson.
GW- What’s the initial exploration, themes or myth? What’s the visual narrative you were trying to depict?
TW- I wanted to show the hope and excitement that we have looking at the future, but also the underlying angst and fear that exists. I aimed to create a fragility on the surface of the paintings while still representing the emotional strength and courage we need to move forward in this new world we live in.
Colour evokes emotions and memories in everyone and I wanted this show to do just that. I collaborated with Greg Walter, a professor at the UNC School of the Arts, to create a custom piece of music where the sound-evoked the same hope and angst as the art. I feel this show really looks at a bright future but it still questions how and when we will get there.
GW- ‘The Only Way Out Is Through’ is a pretty strange title for the show. Okay, you say it was inspired by a Robert Frost poem. Tell us more.
TW- Covid showed us that the “only way out is through.” We suffer through and we get out the other side. In Robert Frost’s work, the story deals with loneliness and being on the edge of insanity where the character sees that she must get through to get out of the cycle of her existing life. I felt that the title expressed how I felt at times in the past year and conveyed the story of the exhibition.
GW- For GW the true genius of your work is that you manage to evoke, to tell a wonderful vivid colour story whilst only using one colour!
TW- Thanks GW. Telling a story is an important part of art. I don’t use one colour but build up many to find the final colour of the work. This gives the work depth and also creates a source of light that seems to come from the canvas itself.
GW- Talk about the process of your gestural strokes and the process of creating these weighty compositions. You mentioned something about turpentine during our chat opening night of your new solo show at the GBG on Wes Broadway.
TW- I use layers of thin paint that I build-up to create the colour that I want. This allows me to create the composition when the primer coat is applied in the very beginning.
With some of the work, I let the paint soak in mineral spirits to remove the medium and get to the pigment. This pigment is like a blank canvas where I can then add oil and colour to get what I want for the final colour and composition of the piece.
GW- Where did you grow up Todd Williamson? Your early curiosity as a child what was that all about?
TW- I grew up in a rural area of North Alabama, 5 miles from a town of 500 called Addison! I spent most of my time with my horses and playing in my rock band. My dad created a great studio on the back of our property where we practised. Music became my escape from the world and even now is a big part of my creative process and the exhibitions in the end. Music informs a lot of my work and I often collaborate with a composer friend who creates music that lets you hear the emotions of the art. He and I did this at the 58th Venice Biennale in 2019 with an exhibition of large paintings that hung in the chapel of the Santa Maria Della Pieta and a three-movement commissioned by Greg Walter, who was also one of my friends from university.
GW- Some of your favourite collectors flew in for this new solo show. Who are some of them?
TW- I feel lucky to have such wonderful collectors who are willing to fly in for my shows. For the Venice Biennale, I had collectors that flew from all over the world to be there for the opening reception! I had most of the board of directors from the Pollock Krasner Foundation in attendance as well! For this show, there were collectors from LA, Austin, upstate NY, Connecticut, etc. It’s always a fun night as you know!
GW- How do you define your style of painting? Is it Abstract Expressionist? Rothko, to this simple mind, seems to be a particular reference trope for you.
TW- I see my style as a mix of abstract expression and colour field. It is informed by both.
I find that each painting dictates using different ideas and styles sometimes to create the concept I have in my mind when I start. I tend to be very physical when I paint so many of the works are painted on a large stainless steel form I have in my studio. I stretch the raw canvas over this which allows me to work the surface of the canvas to create the final colour or texture of the work.
GW- So if some Art-Fart-Critic were to come to see this show and flippantly declare
‘Meh..mere Rothko lite knockoffs here..” what would be your reaction?
TW- Very few artists are not influenced by Rothko in some way or other. He was one of the masters of abstract expression and he should influence the work. For me, Rothko is brilliant and I am honoured to be mentioned in the same sentence as Rothko, but my work is not the same. If you look closely you will find influences by Frankenthaler, Reinhardt, Skully, and even Agnes Martin.
GW- Your growing international recognition and how is that going these days?
TW- I have always tried to show my work internationally as much as possible and have done so in a lot of countries around the world. This year I have three projects booked in Europe. Two in Italy, one with the American Consulate in Rome, and another with a gallery in Zurich. In 2019, I was chosen as one of twenty official exhibitions at the 58th Venice Biennale with my project “Processional.” The Pollock Krasner Foundation was the main support for the exhibition and I won the Prize for Creativity from them. I became only the 3rd artist to be given this award. I also did a big solo exhibition at the MAC Museum Art and Cars in Singen Germany. I did a piece for the Pio Monte della Misericordia in Italy where I created a piece inspired by Caravaggio’s Seven Works of Mercy. My work was displayed with the Caravaggio for several months! I still can’t believe I had this amazing experience!
GW- Do you think your collectors will be happy and believe you’ve delivered high ROI (Return On Investment} brand new art here?
TW- Definitely! An artist’s prices are always based on what they do and their relevance, or at least they should be. This show was important and I think it achieved a lot in moving my work forward.
GW- You paint from Hollywood but the work never evokes such thought of ”Hollywood’ what with the always sombre, dark tones you tend to display. Is it fair to say you are an atypical California artist?
TW- California informs my work. How could it not? I’ve lived there for over 30 years! I don’t see my work as dark or sombre. I see it as calm and involved with my thoughts and emotions. I don’t think I am a typical CA artist but then I don’t know that any artist is typical in that way if they are working and travelling. Meeting other artists and being in foreign cities always affects me so it passes through to the work in many different ways and forms.
GW- The GBG stable has two Hollywood based artists so what do you think of the work of the other one out there in Hunter Biden?
TW- I think Hunter is a strong man who is doing a good job of using his art to heal his addictions. Colour and sound have a powerful influence on the mind and I am moved by how he has used this to centre his life. Not enough is being said about this and it is very important. Many people have addictions or mental issues and art and music do help calm the mind and the soul!
GW- At the end of the day- your interpretation of what defines post-millennial contemporary art is all that matters.
TW- My work is an expression of my own life and thoughts. It is influenced by the world around me and how I see the world. My definition of art evolves as I do. This show is a great example of that, showing deeply layered reflections of the past and questioning how we see our future and what has changed.
GW- The show runs through October and is a must-see at the GBG.
