Director, Vivien Anderson Gallery
Vivien Anderson has represented James Tylor since 2014. “I am fascinated by how James redistributes power in his compositions, flipping the viewer’s expectations,” she says of his practice. “It’s often about what’s missing in the composition that requires the viewer to enquire immediately about what are they looking at. The absence in his Erased, Deleted and Haunted series of black-and-white landscapes with square, ovoid and rectangular voids lined in black velvet have an elegant, haunting truth and theatricality to them.”
According to Anderson, Tylor has generated considerable interest in the national scene of late, taking out last year’s Fleurieu Landscape Prize and the National Works on Paper Prize in collaboration with Adelaide-based artist Laura Wills. “James is currently exhibiting Territorial Encounters, a series of seven daguerreotypes at MOPA in San Diego, and he is working toward a solo exhibition at the George Eastman Gallery in New York.”
Back in Australia, James has been invited to re-exhibit his collaborative installation with Gunditjmara artist, Hayley Millar-Baker at the Castlemaine Art Gallery as part of the Castlemaine Arts Festival, while his recent solo exhibition, Economics of Water at the Broken Hill Gallery, presciently explores the devastation of the Murray Darling basin and the Menindee Lakes. His next exhibition of daguerreotypes at Anderson’s Melbourne gallery “finalises the series that reflects on masculine toxicity in a racially non-specific way,” says Anderson. The daguerreotypes are priced between $3,000 and $5,000.
“James lures his audience with overtly beautifully crafted photo- graphic images, installations and objects,” concludes the gallerist. “He allows an intimacy to occur as the viewer gazes into the compo- sition, before their curiosity leads them to a profound awakening.”