Thomas Kilpper

The Ring: Tim Thomas


Not on display

Thomas Kilpper born 1956
Woodcut on fabric
Presented by the Friends of the Tate Gallery 2000


This is one of a series of unique prints generated from a site-specific work created in an office block on Blackfriars Road, in the London borough of Southwark. Orbit House was abandoned and scheduled for demolition when Kilpper gained access to the building in 1999. He carved a giant woodcut into the mahogany parquet covering the tenth floor, comprising an area of approximately 400 square metres. The woodcut depicted a boxing ring surrounded by an audience of some eighty characters whose names were cut around the edge of the image. The artist derived the portraits from photographs and etchings which he made into slides and projected onto the floor before carving the relief with chisels and a chainsaw. He then made a succession of prints, constituting individual portraits, on a range of new and found materials. He used old curtains left in the building, often sewing several pieces together to make one large, rectangular support. Paper sources include advertising hoarding paper and sheets of purple ultra violet polythene film which Kilpper discovered screening windows in some rooms of the building. The herringbone texture of the parquet features strongly on all the uncut areas of the prints which were executed mainly in black ink using a specially-made giant, cement-filled roller. During the exhibition of the work, the prints were suspended on washing lines above the carved floor. Daylight from the surrounding windows filtered through their semi-translucent supports. Visitors would walk on the carved parquet while looking at the prints. A huge banner was printed from the entire surface (The Ring, collection the artist) and hung on the outside of the building for the duration of the installation. Tate owns twenty-one prints, twenty made on fabric (Tate P78537-P78556) and one on paper (Tate P78557). The Ring: Fight On (Tate T07671) is a section of the parquet flooring preserved before the building’s demolition in late 2000.

The subjects of the woodcut are characters and events in some way related to the location and to the artist. Kilpper selected Orbit House because of the fascinating history of the building and its site and their connections with his own personal history and motivations. His installation created a web of serendipitous interconnecting personal and political narratives. Orbit House was commissioned in the 1960s by Labour minister Denis Healey to house the secret printing office for the Ministry of Defence. At the same time, the British Library’s Oriental Collections Department shared the building to store part of its collection, including the oldest wood-printed book The Diamond Sutra (868 AD) discovered in a cave in western China by the explorer Sir Marc Aurel Stein (1862-1943) in 1907. Kilpper was born and educated in Germany. His father was born in China, where his grandfather, a missionary, was kidnapped and held prisoner for several months during the Boxer Rebellion of 1900. The Diamond Sutra, which contains a drawing of a symbolic fist as well as the Buddha bearing the reverse swastika sign, is one of the cultural objects many modern Chinese feel were robbed from their country by Western explorers in the nineteenth century.

This print is a portrait of Tim Thomas, an employee of the British Library, which is located on the Euston Road, London NW1. Kilpper came across Thomas in the Oriental and India Office Collections section, which offers records and other facilities to assist people in tracing ancestors in South Asia. Thomas is represented with a large stack of books in reference to this. Kilpper has listed characters and events portrayed in his woodcut or connected to the site on the spines of the books. These include Denis Healey (Tate P78553), Alfred Hitchcock (Tate P78542), Charles Dickens (Tate P78549), William Shakespeare (Tate P78551), Bella Burge (Tate P78541) as well as Kilpper’s friend, curator Jean-Christoph Ammann. Thomas’s portrait is printed on a single sheet of white nylon fabric.

Further reading:
Thomas Kilpper: The Ring, exhibition catalogue, Orbit House, London 2000, pp.5, 14-15
Thomas Kilpper: The Ring, exhibition brochure, South London Gallery Projects 2000
Sue Hubbard, ‘An Eye for the Bigger Picture’, Independent: The Tuesday Review, 21 March 2000

Elizabeth Manchester
September 2003

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