Bend Over, 2001
Oil on canvas, 60 x 60 cm
Tate Modern, London
8th July 2004
This remains one of my favourite Tuyman’s paintings despite having seen it a number of times. These notes are from when I saw it in the Tate retrospective. It shared a room with other modestly sized paintings some as early as 1988. Despite this non-linear hang and the different themes, the uniformity of Tuyman’s painting practice makes the room work.
Tuymans’s career began with filmmaking, and consequently his approach to painting often draws from montage so additional meaning is conveyed by the pieces’ adjacency. In this retrospective he must have used this room to set up a new dialogue between the works as this piece was originally shown in a show at “The White Cube” called “The Rumour” amongst a series of paintings of pigeons.
This painting, like the earlier works in the room uses short horizontal brush strokes to build the form and also blur it into the surrounding space. Also all the canvases are pinned around the edge onto thin stretchers, as and have no paint on the edges. I have read that he paints on the canvas prior to stretching, which would explain how he maintains this uniformity of look. The other common feature is the continued use of subdued pastel colours. The oils are thin and have a very flat dry look. The colours in this painting are perhaps best described as “sickly” greens and conjure up the institutional colour of old hospitals.
I suspect the source for the painting is a photograph but I cannot find a reference. The image looks like a man, possibly awaiting a thrashing but he or she could just be bending over doing exercises or picking something up. The background gives no indication of a location and the subject is tightly held by the close cropping of edges of the canvas. The former interpretation is perhaps reinforced by the command implicit in the title "Bend Over" rather than the posture i.e. “bent over”. Coming from a time when corporal punishment was still meted out in schools, I find it a powerful image that reminds me of the degradation we were subjected to. Maybe this painting helped Tuymans close an old wound, but it holds one open for me, and this memory isn’t made any more comfortable by Tuymans placing me (the viewer) in the position of perpetrator.