"Tobias Rose’s piece 'Autonomous 15:30' takes reference from Harmen Steenwyck’s still life painting “An Allegory of the Vanities of Human Life (oil on canvas, 1640)”. Like Steenwyck, Tobias maintains an allegorical relationship toward the depicted objects. Unlike Steenwyck’s message of the 'Vanitas' summarized in the Gospel of Matthew 6:18-21, these objects are the result of personal memories.
The title Autonomous 15:30 is a loose reference to the era from which the aesthetic derives, but more poignantly, a reference to a time of day, at a time in the artists life. The piece requires the sort of “coming to terms” that T.J. Clark talks about in "The Sight of Death - An Experiment in Art Writing”. Inspired by his own experience of looking at two of Poussin’s paintings (Landscape with a Man Killed by a Snake and Landscape with a Calm). Clark grapples with the implications of truly comprehending works of art. Writing “I think that much of this is articulated – under the sign of a different set of hopes and understandings, but with the impulse and tempo of the understanding still accessible to those who care to look. “
For those who care to Look, past the connotations of the Dutch still life aesthetic to the “punctum” of the image there is an immediate subversion of visual language, a sexualisation in the emission of a certain type of pleasure.
Where Brian O Doherty writes, in Inside the White Cube of “A cliché of the age being to ejaculate over the space on entering the gallery” Tobias reserves this for the photographic anachronism"
2007, (5) 21x18" C-type Prints