Tamara Dees, bare; Twelve Twelve gallery, The Hague

Ships are immensely important for seafaring nations anywhere in the world.

Their significance is not just economic; they are vessels of life, emotion, hope, hardship, fortune and misfortune and of history.

On the other hand, in our modern and postmodern times younger generations seem to have become a bit estranged to them, used as we are now to road and air traffic.

Boats and the sea have become props and backdrop of leisure and entertainment, while the notion of their monumental, almost passionate interaction has confined itself to those who work at sea and in harbours.

Tamara Dees (1971), who has a fine and intriguing exhibition this summer at Twelve Twelve gallery, seems to have a good feeling for that monumentality.

From the small scope of one small person she combines different aspects of culture with the reality and the surreal of (mostly) wooden ships.

Using pieces of the real thing and of images, her works seem to become a kind of big fragmented ghost ship.

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to Tamara Dees and Twelve Twelve gallery, Den Haag

Bertus Pieters

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Tamara Dees, The Open Boat; Twelve/twelve Gallery, The Hague

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Twelve/twelve gallery has its first one woman show with works by Tamara Dees (1971).

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Within the small space of the new gallery Dees shows very different works on the same theme – boats and seafaring – which are all at once touching, humorous, real and unreal.

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There are installations, objects, photo works and a video work.

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Ships and shipping have been metaphoric themes throughout art history – just think of Jheronimus Bosch, Dutch 17th century seascapes, Delacroix, Géricault and Turner – and part of that heritage is present in the show.

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Thinking about the small space of the gallery it might be even more surprising that the show is also about space, whether it is the space of thought or the actual vanished or hidden space of a ship.

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[Click on the pictures to enhance]

© Villa Next Door 2017

Content of the pictures courtesy to Tamara Dees and Twelve/twelve Gallery

 

Bertus Pieters