OLIVER BLOOM

Sunday Morning

 

 

 

 

 

Using Abstraction allows my ideas to reveal the hidden entities from beneath surfaces. Semi Abstract evolved forms, micro organic. A play between opposites, for example tones and form, seriousness and humour.
using a style of Transautomatism, emphasising the organic line rather than the precision of straight lines allowing for multiple interpretations.

When I first came across Oliver Bloom‘s paintings I was immediately struck by their upfront attitude and his love of 20th Century aesthetics that takes us from the Primitivism of the early 20th Century – when African art, Iberian sculpture and Micronesian and Native American art lit the fuse of Cubism – to the radicalism of the Abstract Expressionists in the 1940’s and 50’s and the defiance of the Neo-Expressionists in the late 1970’s and early 80’s.

His use of rich colours, a wide tonal range, deep textures and non-euclidean perspectives gives a dynamic form to these still lifes and abstractions, each picture an interpretation of both the familiar and the images arising from the subconscious; an expression of mood and energy, of a deep relationship between the subject and the object, the painter and his muse.

The emotional relationship Bloom has with paint is borne in his actions and while his paintings could be seen as a welcome and comfortable addition in a trendy 1970’s apartment – with their psychedelic patterns, flat shapes and endless tones of colour – they are far more than that. Rather they’re a testament to an artist who is always looking, searching, for juxtapositions between form and colour in order to expose the tensions that exist on a picture plane. To make a picture that generates its own life through the forces that are within the painting rather than without.

Moray Mair 2015 Mutantspace