Continuing to develop drawn forms, the 1990s introduced outlined geometric forms more autonomously depicted on solidly - colored, shaped canvases: Attic Series III, Study (1990) places an ellipse inside of a parallelogram;
Plane Figure Series A (1993) sets two ellipses within a two - color parallelogram; and Curved Plane / Figure VIII (Study)(1995) places two ellipses within a three - color half - circle, cut off a canvas truncated on its right edge.
Not exact matches
When we first started, my inclination was to try to
figure out how to make flat
planes, and then we ended up doing this last print with a
series of eight to ten aquatint
planes, all gray tonalities on top of the hard - ground etching.
The
series begins with a portrayal of a young androgynous girl which formally pays homage to Manet's strong black outlining of
figures, drawing attention both to the surface of the picture
plane and the paint.
A silicone - and - wax oil puddle by Virgile Ittah and Kai Yoda becomes a lonely island, a familiar childhood cartoon slits and sketches across the picture
plane until it is barely recognizable in a piece by Antoine Donzeaud, «[a] memory is cast in a foggy
figure on the brink of evaporation» in Henry Chapman
series of abstract paintings.
On view are four interconnected bodies of work: A Wrestling Place
series — depicting two Herculean
figures mid-tussle against a barren panorama; Self - Examination paintings — a wrestler's intimately folded body represented within a tensely cropped picture
plane; the Wrestler suite — individual portraits of the brawling protagonists standing in profile, facing away from the viewer and exposing scuffed, bruised backs against otherworldly blue backdrops; and The Golden Age — scenes rendered in pencil on gessoed linen.
With its centrally seated
figure and exquisitely rendered interior, Peter's
Series: Back encapsulates Anderson's development of his composition, where
figure and background converge in a harmonious marriage of geometric
planes, enriched colours and evocative intimacy.