Chris Ofili’s intensely coloured and intricately ornamented paintings are on show at Tate Britain in a major survey of the artist’s career that brings together over 45 paintings, as well as pencil drawings and watercolours from the mid 1990s to today. One of the most acclaimed British painters of his generation, Ofili won the Turner Prize in 1998 and represented Great Britain at the 50th Venice Biennale in 2003.

Ofili has built an international reputation with his works that bridge the sacred and the profane, popular culture and beliefs. His exuberant paintings are renowned for their rich layering and inventive use of media, including balls of elephant dung that punctuate the canvas and support them at their base, as well as glitter, resin, map pins and magazine cut-outs.

Ofili's early works draw on a wide range of influences, from Zimbabwean cave painting to blaxploitation movies, fusing comic book heroes and icons of funk and hip-hop. For the first time, these celebrated paintings are presented alongside current developments in his practice following his move to Trinidad in 2005. While adopting a simplified colour palette and pared-down forms, his recent works continue to draw on a diverse sources of inspiration, and are full of references to sensual and Biblical themes as well as explore Trinidad’s landscape and mythology.

Definite highlights include No Woman, No Cry, 1998, a tender portrait of a weeping female figure created in the aftermath of the Stephen Lawrence enquiry and The Upper Room 1999–2002, a darkened, walnut-panelled room containing thirteen canvases depicting rhesus macaque monkeys. Each is differentiated in bold colours, and individually spot-lit.

www.tate.org.uk

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Glossary

  • Canvas

    A piece of cloth woven from flax, hemp or cotton fibres. The word has generally come to refer to any piece of firm, loosely woven fabric used to paint on. Its surface is typically prepared for painting by priming with a ground.

  • Landscape

    Landscape is one of the principle genres of Western art. In early paintings the landscape was a backdrop for the composition, but in the late 17th Century the appreciation of nature for its own sake began with the French and Dutch painters (from whom the term derived). Their treatment of the landscape differed: the French tried to evoke the classical landscape of ancient Greece and Rome in a highly stylised and artificial manner; the Dutch tried to paint the surrounding fields, woods and plains in a more realistic way. As a genre, landscape grew increasing popular, and by the 19th Century had moved away from a classical rendition to a more realistic view of the natural world. Two of the greatest British landscape artists of that time were John Constable and JMW Turner, whose works can be seen in the Tate collection (www.tate.org.uk). There can be no doubt that the evolution of landscape painting played a decisive role in the development of Modernism, culminating in the work of the Impressionists and Post-Impressionists . Since then its demise has often been predicted and with the rise of abstraction, landscape painting was thought to have degenerated into an amateur pursuit. However, landscape persisted in some form into high abstraction, and has been a recurrent a theme in most of the significant tendencies of the 20th Century. Now manifest in many media, landscape no longer addresses solely the depiction of topography, but encompasses issues of social, environmental and political concern.

  • Painting

    Work of art made with paint on a surface. Often the surface, also called a support, is a tightly stretched piece of canvas, paper or a wooden panel. Painting involves a wide range of techniques and materials, along with the artist's intellectual concerns effecting the content of a work.