In the decades that followed, Loving explored new directions, creating
more organic abstractions from torn and sewn pieces of canvas, trading in a restrained formalism for an unbounded, exuberant aesthetic.
The second space is devoted to the smaller,
more organic abstractions that Hammersley made starting in the mid-1980s.
Not exact matches
The exhibition brings together
more than 100 works created by
more than 20 artists from France, Spain, Belgium, Switzerland, Germany, Great Britain and the United States from the «20s to the «50s, rebalancing the traditional views about Surrealist sculpture by placing equal emphasis on
organic abstraction which originated in the whimsical reliefs of Jean Arp, and the of found - object assemblage, which originated in the Assisted Readymades of Marcel Duchamp and became a surrealist passion.
She joined a small group of pioneer sculptors who were committed to
abstraction, with whom she developed her
more mature style marked by
organic abstraction and innovative use of various media including string, wire and colored paint.
Grouped chronologically and ranging in size from delicate 3 - inch squares to
more formally resolved 21 - inch forms, the show traces Youngerman's evolution toward his own style of
organic, geometric
abstraction.
For
more than fifty years, Seliger has passionately pursued his inner - world of
organic abstraction developing and refining his meticulous and obsessive interpretation of nature in small scale works.
These artworks drew upon the
organic shapes of plants and animals, rejecting the rigid structures of geometric
abstraction in favor of something much
more free - flowing.
There's also a solid helping of funkier,
more -
organic - looking
abstraction here — a veiny network of yellow and black lines by Daniel Reynolds, a brushy green canvas by Gregory Montreuil, a spooky painting in pesto green and light purple by Gail Fitzgerald that looks like some ghostly undersea creature (and suggests a miniature, low - key Sigmar Polke) and, probably my favorite work here, a square with a few barely there marks, whiffs of different colors by Roberta Allen.
Sprayed, brushed, flung, dribbled, puddled, taped, stained, poured, gestural, geometric,
organic and
more, with some of it on independent surfaces she attached to the wall, the painting is a virtual lexicon of modern
abstraction.
For
more about this kind of
organic abstraction in Britain, see also: Modern British Sculpture 1930 - 70.