Till Rabus: Forms of Everyday @ Lazarides Gallery, London

Lazarides Gallery London presents the solo exhibition ‘Forms of Everyday’ by Swiss-born, Paris-based artist Till Rabus.

Redolent of pop art and hyperrealism, the works of Rabus give the initial impression of large photographs, directed and taken at familiar to the eye environments while using objects from everyday life in the process of creating his narrative. Doggedly painting and depicting every single bit in amazing detail, Rabus not only takes us into another world of his own but he also introduces us to a variety of new images and iconography. This surreal and mythical atmosphere confidently balances with the depicted surrounding natural environment while at the same time we detect the humourous mood of the artist with a hint of sarcasm and irony towards human presence and existence. Brutality and decay are fervently exposed here; placing his subject matter right in front of us Rabus suggests a never ending challenge and the eternal battle between life and death. This becomes pretty evident in ‘Epouvantail no.1’, part of his ‘scarecrow’ series. Looking at ‘Composition picturale no.1’ and the ‘Surrealist camping lunch no.1’ we detect an evolved Dali humour and aesthetic. Rabus is not afraid to mix and match older idiosyncrasies but he clearly has a talent in digesting elements he admires and producing a new visual language with his own signature and excitable temperament.

Till Rabus talked to REVma -/+ about his work:

REVma -/+: The subject matter of your work echoes not only the remains of human presence but also a darker side of its entire existence. What was the initial purpose of your narrative and how do you feel this creative process has been received by your viewers?
T.R.: My gaze has a fervent tendency to focus on the insignificant details of places in which I find myself. Sometimes, they are significant enough in our attitude and reveal certain anxieties from our lifestyle. I try to overcome these anxieties with irony. The humour and the search of palpable beauty in the monstrosity seem to allow ourselves to exercise certain drifts. I hope the viewer will understand my eagerness to want to moch the undeniable dark side of reality. A Therapy in some way.

REVma -/+: Although your work gives the impression of a photographic capacity, one is very soon to discover the employment of the traditional medium of oil on canvas. Why did you choose this process of incorporating classic painting methods with pop art, photorealism and hyperrealism?
T.R.: To accomplish the figurative painting in which I am interested in demands a lot of work and concentration. By staging and painting techniques, I attempt to achieve new legitimacy, that of the aesthetic model at its all elements that form a backdrop of our existence. When projected in to a new dimension, the particles of the ordinary are in apparent harmony that conceals the accidental meanings. Pop art, Surrealism, photography… but also films, comics, and literature are for me the source of inspiration as much as everyday life.

REVma -/+: How did you achieve the balance between the surreal and the stories or forms of everyday life?
T.R.: The trick is to create the fantastic from surrealism with what I have at hand. A way to deceive boredom and to escape.