Through painting and animation, Tala Madani’s work raises pertinent questions and offers a critique of gender and politics which reflects on who and what is represented in art. She deploys humour in her work to tackle representations of violence and destruction. Her approach to figuration is a tangible critique of masculine modernism infused with a contemporary sense of sequencing, movement and visceral speed.
Corner Projection (Panic) (2019), featured in Unsettled Objects, is part of a series of paintings exhibited on adjacent walls that look at the relationship between the painted and the virtual image. Using colour and paint to simulate the experience of projecting an artwork onto a surface, this large-scale painting recalls an analogue projector and uses thick, unfinished brush strokes to project an image of a group of men in a state of panic. One could consider this to be a critique of the male-dominated history of painting as well as society more broadly.