Oscillating between beauty and horror, the exquisite and the damned, the celebrated and the downtrodden, Wayne skilfully balances on a tightrope.
"I thank Julian (Schnabel) for introducing me to the art of Wayne Magrin. Wayne’s art came into my life at an intersection where I needed to learn to see again, and his works renew my vision every time I see them. His paintings, original and unclassifiable, defy current trends and resist the pressures of popular culture and transient idioms. They embody a naturalness in every sense, with Wayne’s mastery evident in his handling of form, color, and tone. His art offers insights into the human condition that transcend traditional avenues of learning, surpassing the confines of art schools, Master’s degrees, or residency programs. In his latest series, medieval imagery and narrative saturate the canvas, inspired by Daniel Kehlmann’s 2017 novel Tyll, which revolves around the folkloric figure Tyll Eulenspiegel amidst the Thirty Years’ War. Wayne’s paintings transport us into foreboding interiors, scenes of debauchery in towns, and chilling landscapes, introducing a new dimension of subjectivity and sensitivity to his oeuvre. Oscillating between beauty and horror, the exquisite and the damned, the celebrated and the downtrodden, Wayne skilfully balances on a tightrope. Tyll Eulenspiegel, the jester and trickster of widespread lore, serves as a central motif. In works like That’s my shoe, Tyll’s antics spark chaos as locals, in a comical frenzy, engage in a quarrel over tossed shoes, oblivious to their rightful owners. It’s a scene both profoundly odd and subversive, providing fertile ground for Wayne’s artistic exploration. There is a relaxed correspondence with art history at play, but it is never obvious. One thinks of Pieter Bruegel – maybe Sidney Nolan – but these citations require teasing out, should you decide to take that route. What sets the art of Wayne Magrin outside such categorisation is his ability to avoid the usual doubt and self-conscious affectations almost synonymous with such referencing and visual quoting. In the end, the paintings are undeniably his own: unaffected and pure. His brain and his heart are fused together. When his vision flows from his mind, through his heart, and onto the canvas, it resonates with an undeniable truth.”
James Drinkwater 26th April 2024