The same principle applies to two Friar Tuck type portraits with cheeks.
BLANK PAINT CANVAS SKIN
Although it appears to be the same person in each painting, dramatic variations in skin tone – pinks, golden yellows, and stone greens – make the figures appear as variations on a single avatar. These pieces are foils to the exhibition’s sadistically laborious portraits, eight of which show an androgynous person calmly facing the viewer: shoulders turned a quarter, face framed by thick flowing hair. Courtesy: the gallery and Tanya Leighton, Berlin and Los Angeles Photo: Günter Lepkowski
Oliver Osborne, ‘German Afternoons’, 2022, exhibition view, Tanya Leighton, Berlin and Los Angeles. The third is painted with a lattice pattern in cloudy pastel, reflecting the shape of the stretcher. The second of the exhibition’s large blank canvas pieces also consists of four sections hung in pairs on either side of a projected section of wall. Given the lack of color in this painting, the blood-like drips pay devious homage to the medium’s oft-declared but unfulfilled death. Their surfaces are all untouched, except that the title of the exhibition, “German Afternoons” is embroidered on one in small and elegant red lettering along with a few drops of color mimicked with the same red thread. One of the latter, the largest piece in the exhibition, is a composite of four separate canvases. The artist’s current exhibition at Tanya Leighton, Berlin, consists of a series of oil painting portraits on canvas, sharply contrasted by the reduced conceptualism of three larger canvases. If anyone were to analyze the role of nostalgia in contemporary art, it would be difficult to find a better case study than the incredibly talented and psychedelic old-fashioned painter Oliver Osborne.
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