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Colouring The Edge Exhibition


4 February, 2016 |   Author: Mark Peaker, Co-founder & CEO of 3812 Gallery

The relationship between colour and form is fundamental to the understanding of art and their myriad possibilities have been explored widely throughout the ages by groups of artists across all cultures. The two elements of colour and form are intrinsically linked however processed separately by the eyes and brain: this does not imply independence as it is still a very tangled process, for you cannot imagine colour without associating it with a certain object, and you cannot imagine colour without it taking some form. This wonderfully entangled relationship creates balance and harmony, which ultimately produces a rhythm that we can then respond to through evoking a beautifully personal emotional response.

Perspectives from Greek antiquity and Chinese philosophy on finding balance filtered through to much of the Bauhaus & Constructivist teaching on harmony in colour and form. Achieving a sense of balance seems to be a perfect tension between mathematic-scientific and intuitive-emotional response to colour. In this way we can allow an exploration of the creative side of ourselves, which is then regulated by the more rational ordered processing of form.

In this exhibition colour and form is conveyed through three different mediums: painting, photography and drawing. Each artist plays with spatial concerns and recreates a sense of movement through the abstract form of colour. Lothar Götz uses pencil on board to expand the grammar of drawing into the third dimension; he develops a network of lines, which transforms a flat surface into an architectural web of colour. In a similar vein Shannon Finley constructs spaces and humanoid figures out of hard-edged geometric shapes, mostly triangles which overlap, interpenetrate and intersect. The compositions have a magnificent depth that never quite coheres. In contrast to this Yelena Popova creates transparent softened geometric forms which recall the graphics and aesthetics of Russian Constructivism and Minimalism. Her point of inspiration comes from the Greek Discus thrower using elliptical curves and repeated rhythmic shapes across the linen canvases in order to articulate a kind of balance.

There is an interesting juxtaposition of natural and manmade colours throughout the exhibition which disrupt your expectations of what you are viewing. Tommy Clarke photographs beautifully expansive Salt Planes, which are completely untouched landscapes and whose colours vary depending on the location and levels of salt. These works are evocative of Rothko’s pulsating paintings so they cause you to pause and ask what medium you are looking at. On the other hand Tim Braden has embraced bold acid hues that feel much more manmade despite depicting abstract forms. We are conditioned to understand and respond to the colour spectrum through attributing emotions to each tone, which varies enormously from culture to culture.

All photos are provided, courtesy of Mark Peaker.