Abridging adaptations of reality and idealism, realistic features are eradicated from familiar things, permitting no more than the core or some degree of realised shape. It is this communicative geometric flow in Tavill’s non-figurative paintings that distinguishes vigilant pictorial arrangement and composition. Consequently his art communicates extensively within its non-representational skeleton or agenda, taking the gallery-goer back to the initial values and schematised structures de rigueur in first-rate abstract art.
Tavill’s development of the act of painting in itself as a means of visual statement, challenges and strikes at chaste inspiration and emotion. Pitching the idea of ‘art-for-art's-sake’, wholesome patterns of hue, narrative and description build up, overlie and interrelate, demonstrating devout energy, dedication and daring in the wake of the visual world.
His non-representational paintings embellish and illustrate how his motivation has its fundamental dynamism spread through the act of painting in itself. From this advancement, the excitement and animation of the image is Tavill’s focus. As the symbolic and metaphoric embodies his work, Tavill secures and condenses reality and intrinsic worth by relating the well-proportioned and well-balanced orderliness of form, colour and line into the abstract.
Tavill’s brushstrokes and surface texture embrace a commitment to conceptual space. All parts of the canvas perform a uniformly fundamental function and responsibility. Working in co-operation with soft and hard edged vibrant shape and contour, a round soft brush is used for a velvety look of drips and drops, contrary to the force left by hard bristles pro trickles and spatters, or the effects of a palette knife which is blotted and stained. The radiance seems complex but regulated as Tavill campaigns for emotional outlay from the gallery-goer: The artist's intuitions about colour and shape set up codes for the sensation and reflection of the viewer.
The classic Tavill is an effervescent painting. A fine Tavill is forever an enigma. You can feel its splendour and experience its sentiment, yet both are beyond words. And as with the prescribed, so with the expressive factor. We can feel sentiment without being able to measure it. That is putting it in spiritual expression.
Seeing that Tavill’s art does not correspond to or characterise the material world, it embodies the devout. As if taken from ancient Greek philosophy, Tavill works with the uppermost outward appearance of beauty that lies not in the forms of the real world, but in the primordial abbreviation of pattern, design and relationship of shape, as he appeals to self-acquaintance.
Tavill’s canvas places qualities such as the succession of spherical shapes and the sequence of borders so effortlessly and devotedly in optical strength; the fulsome areas of his image allows the spectator to totally appreciate his freedom of imagination, interpretation and emotion.
Estelle Lovatt - Art Critic