Wet Plate

February 26 - March 26, 2022

installation view - front gallery

installation view - front gallery

installation view - front gallery

installation view - back gallery


The following are extracts from writing by Jane Wallace that accompanies this exhibition. The full text is available from the gallery.


“Recently, I have been swimming laps again. At the bottom of the pool swills a layer of sediment from the poolside peripheral, leaves and dirt cast in by overhanging trees, debris of plastic, latex and cotton, filaments shedded from nylon swimming togs, an occasional flake of silver or bead lost to the rhythmic suctioning of the filter. I am another substance in this soup, an amalgamation of strands of hair, skin cells, saliva, chlorine, sunscreen. The poolscape is contained by a border of blue concrete aggregate, a modest imitation of the colour of the ocean. From bird’s eye, this balance between frame and water, solution and particle, is a parallel composition to Tyne Gordon’s painted works. Inversely: Gordon’s paintings are surfaces for swimming in…

I cannot think about Gordon’s work without thinking also of photography, as a practice where light behaves as found object, detritus of other circumstances which have been rendered invisible. Gordon’s too, is an alchemical process of a reaction occurring on a metal plate. Her works are produced through layered application of oils on a sheet of copper or aluminium…

The interplay between industrial material and organic matter is a recurring idea for Gordon. Lichen, silver leaf, tarseal and resin comprise the frame of Scanner, a mixture poured into a silicon mould, and turned out when set. In another, strands of iridescent tinsel are suspended in a cloudy swamp. There is a visual rhyme here, with the texture of grass trampled into mud, the blades pushing up through the sludge. The fibrous grass mixed with the smooth texture of wet soil resembles fibreglass, and so Gordon’s frame becomes both of these too…

The currency of Gordon’s work is the mystical and ritual, as though we turned up when the party was over, left to sift through its accessories. In a poem in The Goose Bath, Janet Frame writes:
I take into my arms more than I can bear to hold / I am toppled by the world / a creation of ladders, pianos, stairs cut into rocks.” 
There is an ecstasy to things that go up, in the mantra of their repetition. Gordon’s sculptures follow similar logics, a miracle embedded between all these found things that fit together anyway. Moth and Monotreme are assemblages of abstruse objects that are illegible on their own. As compositions though: cake of garden reel and Christmas tree, concentric towers where meaning is generated through combining and believing. 
This is an inventory of the world and Wet Plate is wading through its architecture, pulling a glittering horizon of parts toward us…”

Jane Wallace

A review of Wet Plate, written by Nick Harte, was published in Artbeat, May / June Issue 30, p8.
You can access the review online at: https://www.patreon.com/posts/66570881

Selected works


Watery Grave II




Bannister II

Moth II

Watery Grave

Sculptural objects




Tyne Gordon adding the finishing touches to her sculpture Monotreme



Details of works