Oil and acrylic paint on canvas
Tate Collection
Works with images
General Collection
Collection
<a href="https://www.tate.org.uk/art/artists/charline-von-heyl-15657" aria-label="More by Charline von Heyl" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Charline von Heyl</a>
Jakealoo
Lent by the Tate Americas Foundation, courtesy of the North American Acquisitions Committee 2014
abstraction
colour
emotions, concepts and ideas
formal qualities
gestural
non-representational
spontaneity
<p>Von Heyl works on each new painting without a pre-set composition. <span>Jakealoo</span> brings together different kinds of marks and strokes, some more reminiscent of drawing than painting. The artist likes to play with our expectations about layering. At the top right, areas of bright colour are covered with a thin wash of white paint. In the corner below, a black framed window appears to reveal the layers beneath, but these colours are in fact painted on top of the white. Tricks like these emphasise the physical aspects of painting, at a time when viewers are accustomed to the virtual layers of digital space.</p><p><em>Gallery label, July 2015</em></p>
painting oil acrylic paint canvas
1 April 2015 – 1 May 2016
2016-05-01
1 April 2015 – 1 May 2016
2016-05-01
2015-04-01
Tate Modern (London, UK)
http://www.tate.org.uk/modern/
2015-04-01
Painting after Technology
Collection based display
22 June 2018 – 23 September 2018
2018-09-23
22 June 2018 – 23 September 2018
2018-09-23
2018-06-22
Deichtorhallen Hamburg (Hamburg, Germany)
2018-06-22
Charline von Heyl
Loan-out
Jakealoo
unconfirmed: 2083 × 1880 mm
Lent by the Tate Americas Foundation, courtesy of the North American Acquisitions Committee 2014
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<p>Von Heyl works on each new painting without a pre-set composition. <i>Jakealoo</i> brings together different kinds of marks and strokes, some more reminiscent of drawing than painting. The artist likes to play with our expectations about layering. At the top right, areas of bright colour are covered with a thin wash of white paint. In the corner below, a black framed window appears to reveal the layers beneath, but these colours are in fact painted on top of the white. Tricks like these emphasise the physical aspects of painting, at a time when viewers are accustomed to the virtual layers of digital space.</p>
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2015-07-09T00:00:00
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abstraction colour emotions, concepts and ideas formal qualities gestural non-representational spontaneity