The large paintings Request and End of May, both from 1972, represent for me the artist at his zenith, with
flat objects floating over backgrounds that have become more mottled, and deeper for it.
Not exact matches
Without Ambient Occlusion, scenes look
flat and unrealistic, and
objects appear as if they are
floating.
His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a
flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange
objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.
In this painting the hexagonal motifs
float in a space that I can not help but see as deeper than the two - dimensional
flat plane that I know it is and that the painting itself keeps reminding me it is, by the refusal to open up a window on the world of recognizable
objects, almost as if I find myself at the moment where perception attempts to become cognition and the attempt is continually thwarted.