'Small Green Field With Landscape'
180.0 x 180.0cm

'The Cornfield'
180.0 x 180.0cm

Two Tillyer paintings are set for their debut at The Armoury Show in New York next month. William says "for these new paintings I felt I needed more structure" - the culmination of his previous body of paintings, being the 10 meters of free hanging open mesh panels that comprised 'The Golden Striker'. In a short film introducing the wok, Tillyer says: "It's a question of really contemplating and thinking about, how you feel about the landscape, how you feel about the kind of situation we're all put into...Just what is it all about? What is life about?" In these works, he is answering the question with the 'hard facts' of wire in tension, wire mesh, and paint which is seemingly alive with "the relentless energy" of the landscape, of spring, and which is leaping out form the support to meet the viewer.

In responses to The Mulgrave Tensile Wire Works, poet and critic John Yau says" "Time has proven William Tillyer to be the most adventuresome painter of his generation. This is no small achievement. In a country known for its masters of landscape and light, and artists such as J.M.W. Turner, John Constable, and Samuel Palmer, Tillyer has extended that glorious tradition into new territory.

Tillyer has attained this by working on different supports, which enabled him to apply paint by various, unconventional means, as well as by bringing together abstraction and figuration in unlikely ways.

Landscape painting can transport the viewer to another world, to another time and place. Tillyer refuses to do continue this familiar trope for reasons that strike me as both aesthetic and ethical. In their use of metal mesh, wire, and paint, the artist reminds us that we too are made of changeable material, and that we too are vulnerable."

'Small Green Field, with Landscape' and 'The Cornfield' - The Mulgrave Tensile Wire Works, can bee seen at:

The Bernard Jacobson Gallery - Booth 517

The Armoury Show

5th to the 8th March

Pier 94

New York

Dr. Claudia Tobin has writtn 'Landscape Is Weather': William Tillyer Painting the Elements, an analsis and exploration of the Tillyer's 'The Golden Striker' and 'Esk Paintings.

..."The great engine of the wind and weather rolls in, stage right, making way for the cornfield described in shimmering lush gold paint. Strike is what this painting does, with monumental scale and dynamic form. Sky and earth meet in the churning blue and yellow sphere, which conjures the mechanical energy of a waterwheel or harvester, and at the same time appears on the point of dissolution, loosely outlined, as if gathering within it the texture and tone of clouds. This combination of muscular form counterpoised with exquisite delicacy and lightness of touch is characteristic of William Tillyer. The translucent mesh is unmounted and the work seems to hang unfixed, floating with iridescent weightlessness. Painted in the lead up to his eightieth birthday during an energetic period of creativity, The Golden Striker dramatizes the larger dialectic between the organic and the mechanical, nature and artifice that has preoccupied the painter throughout his working life. It is a painting-as-statement that offers a landmark from which to reflect on his work over the past three decades...."

Read Dr. Claudia Tobin in full

William Tillyer's latest paintings can be seen at The Bernard Jacobson Gallery from Septmber 26th - November 24th 2018


John Yau has written about William Tillyer's new painting "The Golden Striker" for hyperallergic.com

"Why isn't Tillyer better known in England and the larger art world? Is it because he has been too experimental in a country where entertainment is more prized than daring? Is it because he doesn't try to be agreeable or enjoyable, or play the bad boy or grumpy elder? Is it because he isn't a showman capable of delivering some interesting pitter-patter at the drop of cap? Whatever the reason, I think Tillyer's work deserves far more recognition. It is the work that should count, not the artist's mastery of social media."

read John Yau at hyperallergic.com

'Nobody at the Bernard Jacobson Gallery'

'For A. O. / Articulations'
57.8 x 57.8cm

Nobody is a collaboration between William Tillyer and British poet Alice Oswald. Both painter and poet took their mutual inspiration from water.

"We're like two people going on a woodland walk. You wander off on your own path and then come back together again," explains Tillyer when I meet him and Oswald in The Tabernacle, a west London community arts centre, to discuss their new project.

"We're definitely not illustrating each other. We put that out of the way straight away." Oswald also testifies to their unfettered exchange. "We were corresponding for three years," she tells me when I ask her about the origins of Nobody, a book and exhibition at the Bernard Jacobson Gallery in London that brings together her long poem and a set of watercolours by Tillyer. (Double inspiration: William Tillyer and Alice Oswald via @financialtimes)

The watercolours are currently on show at The Bernard Jacobson Gallery and a book 'Nobody' presenting both sides of the collaboration is published by 21

Nobody is presented as part a of a special year of books and exhibitions featuring the work of Tillyer in celebration of the artist's 80th birthday in 2018


Double inspiration: William Tillyer and Alice Oswald in the FT

'"gazing at the tortoise where it lay huddled in a corner of the dining room; glittering brightly in the half light" (1974/2018) Coloured relief and intaglio printing on Arches paper, Edition of 25, Paper size: 65.5 x 48.5 cms (25 3/4 x 19 ins), Plate size'

Bernard Jacobson Gallery is delighted to announce A Rebours, an exhibition of the new folio of 52 prints by William Tillyer inspired by Joris-Karl Huysmans' seminal 19th century novel. The folio will also be accompanied by the publication this February of a new translation of A Rebours by acclaimed author and translator, Theo Cuffe, illustrated throughout by Tillyer.

A Rebours (Against Nature) has been an enduring source of inspiration and fascination for Tillyer from his earliest practice as an artist, representing the dynamic polarity of the natural versus the contrived - and good versus evil. The tension between these opposing sides is seen repeatedly in Tillyer's work and perhaps is particularly evident in the use of metal grids in his landscape paintings.

This might seem at odds with an artist who is equally passionate about the naturalism of Constable but this contradiction is eloquently explained by the art historian, Norbert Lynton "Constable's art involved hard-won and hard-worked artifice to achieve the effect of naturalness. Huysmans's artifice is patent: ascribed to des Esseintes, it is the theme of his book" (A Rebours). Whilst Tillyer is certainly alive to the beauty of the natural world, his attempts to portray it are always firmly rooted in an understanding that all art is artifice.


'Photography: David Markham'

"There is a simplicity to his thinking but behind the veil is a complexity and depth of thought I've seldom witnessed in the art world. It's a fascinating insight into the mind of one of this country's greatest artists."

David J Markham talks to William Tillyer for The Yorkshire Times.

read the story

Bernard Jacobson Gallery is delighted to announce William Tillyer: Radical Vision, the first of a series of exhibitions dedicated to William Tillyer. from 12th January - 3rd February

works 1956 - 2017

PREVIEW 11th January, 6 - 8 pm