In ‘Cardiologiomania’ and ‘Time Capsule’, the depiction of ‘stuff’ confirms the artist’s painterly virtuosity whilst confounding our expectations of still life or vanitas painting of the 17th Century; Teather’s works frequently wrenches us back and forth through time and style; As we are shifted between romanticism and classicism we are left entranced, entertained and certainly captivated by the uncertainties. Within the context of the show, Teather’s unlikely, sickly-sweet female subjects nestle uncomfortably in their surroundings, often yielding an eeriness and intrigue which belies their straightforward painterly execution.Neil Powell, senior academic and curator at Norwich University of the Arts
A trip to India has now prompted Another Orient, where a shared colonial heritage is explored via some of the oddest links between the Asian continent and East Anglia. They are best expressed in all the fun of the circus.Ian Collins, art critic and curator
The backstage museum of Great Yarmouth’s fabulous Hippodrome is the perfect backdrop for this procession of Teather paintings, complete with the ghosts of clowns, tumblers, jugglers and animal tamers. Lily Langtry sang here. Max Miller joked. A boy called Charlie Chaplin acted. Houdini vanished and, according to Will Teather, Maudeline Spacks temporarily vanished.
This purpose-built circus building from 1903 is the only one in Britain still true to its original function, and one of only four globally with a stage which sinks and floods into a pool for synchronised swimming. Now Grade II* listed, this fixed Big Top behind the Golden Mile is a wonderland – a symbol of metamorphosis and alchemy – even when empty. Perfect for Will Teather’s purpose.
In ‘Transmigration Extraordinary’ we are treated to an accomplished painterly rendition of a figure seemingly hurled into theosophical space whilst preoccupied with reading. The grotesque of the figure transports the viewer into a vacuum of ambiguities redolent of Robert Longo’s ‘Men in the City’ series in the ’80’s, a place we aren’t – metaphorically- taken to all that often. Though much has been made of the carnivalesque in Teather’s work, for me there are a whole different set of references and readings to be accessed through the work, partly through the history of painting, but partly from some of the transcendent sentiments cited, consciously or subconsciously, in the exhibition.Professor Neil Powell