Tom Woolner's work has taken many forms, from large scale sculptural installations, often built on site for specific locations, to solo and collaborative performances, responding to context, that employ humour and slapstick theatrical devices.
More recently, however, he has been making things that come closer to paintings. This new work, made through an intuitive and playful process of pouring, piping and squidging, akin to cookery or amateur cake decorating, allows materials to take control at a molecular level, compressing and comingling into, rather than onto the surface.
Made in reverse and partially blind, semi-viscous liquids slowly or rapidly congeal to agree upon a form that sits somewhere between painting, sculpture and fresco. These surfaces hang proud of the wall, as if excavated from a slice of agate or ancient tablet.
They open portals into, and out of the body, to reveal alternative landscapes and a corporeal meteorology.