By Tony Magnusson.

For those who call the continent of Australia home, the regeneration of native flora in the wake of bushfire is always a welcome sight, and never more so than following the devastating bushfire season of 2019-20. The process plays out as a triumph of colour over monochrome. First comes a lime-green fuzz, smudging the blackened trunks and branches of recently scorched trees. Then the frothy clouds expand to form a garment of chartreuse leaves, radiant and flickering in the light.

By Nigel Prince

The final paragraph of The Dead, the short story by James Joyce, and hence the last of the collection in which it sits, Dubliners, concludes with writing of aching poignancy. The sentences touch
on the thoughts of the narrative’s main character Gabriel as he watches falling snow from the window of his hotel room. While caught in this moment he reflects on his wife Gretta’s recollection earlier that evening of her childhood love, prompted by conversation during a dinner party.

By Tim Maguire

17th Century Dutch floral still-life paintings often fulfilled a moral function. Whilst evidently painted as a celebration of beauty and of the richness of the natural world (and indeed the wealth of the painting’s owner), they generally had included in their compositions specific elements which served as memento mori (reminders of death). The very early floral studies were sometimes painted onto the back of portraits …

Tim Maguire in conversation with Jonathan Watkins

For a long time now, painting and printmaking have played off each other in my work. Frustrations in one area are often solved through investigations in the other ...

Von Lintel Gallery is pleased to announce its third exhibition of new paintings by Australian artist Tim Maguire. In this latest body of work, Maguire continues his practice of combining digital image-making techniques with a painterly process to create large-scale oil paintings.

By Laurent Boudier

Fiercely blazing, openly blooming and baroque, Tim Maguire’s painting is an exultation of seduction and luxuriance. With the flamboyant playfulness of a well-schooled bad boy, the artist – Tim Maguire was born in 1958 in England, grew up in Australia and lives in London – shamelessly elects the blossom of a tulip as both model and paragon.

By Dr Shaune Lakin

Physically, he said, painting has kept him pretty fit ... Maguire has been throwing paint lately. At large canvases. He walks back and forward eight metres, all day long, to see what the pictures look like as they grow ...

By Bruce Millar and Sarah Miller

In choosing to create this new series of monochrome paintings, Tim Maguire has taken what might be seen as a risk in depriving himself – and his audience – of what has been one of his great strengths in recent years: the riot of colour, the hot reds and greens and pinks and yellows that have animated his work.

By Sarah Miller

Tim Maguire’s art may manifest itself (primarily) in paint, however, his approach to process and source imagery is essentially photographic. The insubstantiality of the physical surface, the luminous glazes and the panoramic scale allude to cinema.

By Suzannah Biernoff

At first glance Tim Maguire’s recent ‘abstract’ paintings resemble photographs. There is little evidence of human creation or even mediation: no recognizable trace of the artist’s hand; no reference to the world negotiated daily by the naked eye.

By Peter Timms

Early in the 1730s, God sent a tiny worm to punish the sinful Dutch. The worm, dutiful to its Creator and voracious in its appetites, busied itself under the waters of the North Sea, gnawing through the wooden foundations of the dykes. Soon, the dykes collapsed, and a great flood inundated the country.

By Maria Vogel

Movements in art history can be compared to the swings of a pendulum. The movements always take place within a given limited, and it is only the extent of the oscillation that varies.

By Eloise Lindsay

Tim Maguire’s art introduces an abstraction into the field of painting not commonly encountered within the fixed two-dimensional work. This deterritorialised visuality is exposed by interrupting the stable frames and subjective illusions of painting.

By Adrian Searle

A close-up portrait of a bloom, far larger than life and bursting beyond the confines of the painting’s edge; a white flower, filling the canvas. A red poppy spreading its papery petals, stark against blackness. An insect climbing a stem, toward a jungle of cut flowers.

By Terence Maloon

Fiat lux, et Lux fuit - "let there be light and there was light": the celebrated verse from the Book of Genesis describes the single event occurring in five paintings which make up Tim Maguire's 1992 Canal installation. The verse could stand as an epigraph to the whole artistic tradition from which Maguire's paintings are descended.

By Jonathan Watkins

This exhibition is based on a series of five large paintings, oils on canvas. Its title, Canal, is at once straightforward – referring to its inspiration and an immediate geographical context – and oblique, as it conflates notions of man-made and natural phenomena.