Not exact matches
While Morley's
paintings invite the viewer to reflect upon the conflicts that have
shaped humanity since time immemorial, they also echo the artist's personal experiences as a child during the Second World War, his cultural affinity with both England and America, and his lifelong fascination with models, from the plastic Air -
fix kits of his youth to the paper cut - out varieties.
In the uniformity and repetition of the
shapes, they seem to underline the formality of
fixing nature into a stillness, but what unites these works with her more naturalistic landscapes are the deft, confident strokes of
paint that seem to arrive effortlessly on the canvas, and their contradiction with the more preciously applied marks that flicker and activate the
painting's surface, along with our eye.
Although she follows a
fixed method in her
painting, applying purely geometrical
shapes to a classic 48 x 38 cm portrait format in layer after layer of oil and acrylic
paint, her
painting is far removed from serial production.
Lately, she says, she's «been thinking about the many ways in which one can view the same object, and how far one idea or one
shape can be stretched, simply through how it is presented»; her new show accordingly runs variations on a
fixed subject via a set of «inverted landscape»
paintings (plus some 15 drawings), in irradiated hues, where space seems to twist itself inside out.
It's so true — if the style and
shape are right,
paint can
fix just about anything!