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Tomma Abts,Abstract artist. Born in 1967 in Kiel, Germany, in 1995 went to London, now lives and works in London.

Tomah Arbus (Tomma Abts) is the winner of the 2006 Turner Prize, she is the second Gillian Weier Lin (Gillian Wearing) 1997  won the Turner Prize winners since another female artist, also in 1998 Chris Ofili in the first form of this award with the painting of the artist (Chris Ofili) later.

Tomah Arbus's work from the rigorous working methods. All of her works are 48 x 38 cm in size oil or acrylic work. She said it was her favorite shapes and sizes. Each piece has emerged as a rich color scheme, these colors are not particularly distinctive
But in each piece they all complement each other. Her paintings are not specific natural or social origin, and usually never know when you start writing the result is what, but let shape gradually superimposed naturally present in the coating. With each piece its own characteristics are slowly
Unfolded, it became clear structure, and sometimes become blurred, and finally re-excavated, and so forth, until the works achieve their perfect fit.

Tomah Arbus not put the canvas on the easel painting or painting the canvas hanging on the wall, but the canvas flat on a table painting studio. She was in the creation, from just above to watch them. Psychologically, this is very important. I imagined her carefully writing them, look, like a blank sheet of paper on the table staring writer or as a general map as in research. This is not just a simple tendency, and painting the same size, it implies a kind of intimacy with the sitter.

Tomah Arbus early works by the relatively simple organic forms composition curves - such are the creation in 1999 of "Tabel" and "Kobo" - reminiscent of Hans - Arp (Hans Arp) abstraction.

Later works show more complex geometry. 2006 "Weet", with its red and green curves distinct lines, such as part of a machine or some industrial buildings and design. She also has some work is reminiscent of the Russian Constructivists, they seem to contain some mysterious, unpredictable intentions. In recent years her work accompanied by casually curious fantasy. In 2006, "Meko", the show with a red stripe, striped in rough diamond ring, it looks as if it has been spun off from a red background while floating on the green shaded gray paper. Accurate, this is not the light effect painting, but visually, it's very attractive. Overall, Tomah? Abs creation seems to be a rigorous intellectual game, but only Tomah Arbus know the rules.

In 2008, "New York Times", Holland Carter (Holland Carter) Evaluation Tomah Arbus's work "very attractive" and then went on to comment: "She put some basic elements, such as rules streak , curved, round, flat and polygons with a variety of wonderful way was carefully layered, juxtaposed and interwoven. Tomah Arbus used color is very soft, but full of temptation, and the highlights and shadows added inside, creating a mystical 3D delusions. "This also causes these works are painted look very thick, so that gives a false impression, as if these paintings are constantly test, draw the wrong, the result has changed. Tomah Arbus said that every one of her works can be seen as one of the works by the hidden pieces of composition, which every one is a relatively independent parts, together demonstrating the formation of the final works process.

You might question the Tomah Arbus small size of this effect works in the exhibition space. Her work can be just large enough to display on the wall, but small enough so that you can look carefully near. Although they are low-key and reserved, but the content seems to be elusive. They are not shy to show in front of the public, but the use of a force attracted to you, and make you forget the huge space at the moment. Each piece is like a small world. Such interaction in a gallery space and great fun compression between single painting very exciting. Once there, his eyes swept thoughts ups and trying to catch it to us. Look at the longer they are implied or hide on the performance of the more peaceful. At first glance looks clear, understandable presentation logic eventually become irrational, subjective and confusion. As if to say: You can begin to draw from anywhere, and ended somewhere else; just need to do something in the middle.
As each piece of work is developed from its own elements have, when they hang together to the gallery, people will be able to connect them with the shades on the form of paintings, which often reflects the author at the same time creation of a number of works, in order to make her ideas can be expressed in a number of works in. Tomah Arbus's work are derived from the title of a surname dictionary, but also marks the naming of the work completed work.

Fewe, Lübbe, Mehm, Moeder, which is like the annoying chatters syllable; and Beckett's Krapp, Clov, Hamm and Watt, these names have old-style tone. They are exactly the name of Tomah Arbus works, rather than the characters in a novel or screenplay. Even if they are that the proportion of straight rectangular frame reminiscent of portraits, in fact, nothing.

In these Examination of color and space, we found that even works in Tomah Arbus some very subtle movements can produce wonderful results. Meanwhile, staggered from shading works, we can see Tomah Arbus skillful use of color, which is also shown skill in her drab colors can be combined, so that viewers produce excellent feel. She bleak palette so that the limited forest green produce shiny effect; simple graphics make every level and curves significantly abnormal; of the shadow carefully refined to bring these simple, sometimes blunt pieces to life.

Tomah Arbus's work with retro elements, like abstract design back in the mid twentieth century. Or on an old bus found to cover a thick carpet fabric. These paintings seem like just brought to light are locked in the basement of a museum works for years.


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