The online editorial and curatorial project for systems, non-
Eye and Mind-
By David Rhodes
The three artists presented here are all painters who use geometry and colour. They arrive at structures through processes that depend on their reactions to formal elements, as much as on conceptual strategies, and although colour theory is certainly awareness, there is nothing dogmatic in its use. The exchange, between perception and conceptualisation, here acknowledges the thorough connectedness between artist and environment, subject and object. In other words, to perceive the world at all, one must be part of it. To the degree that geometry, differing degrees of gesture in paint application, and colour, are all shared, any comparisons between the artists’ work turns out to be productive. There are a range of precedents: Colour Field painters, particularly Kenneth Noland, the Bauhaus innovations of Joseph Albers, and the Latin American modernists Lygia Clark and Lygia Pape.
Caroline de Lannoy employs small scale and restraint in her paintings, which focus
on a colour’s function in the modification of form. With determinedly spare geometric
elements, usually turning around a diagonal, de Lannoy explores iteration and variation,
concentrating colour space within the format of a square. The diagonal orientations
of shape evoke physical architectural spaces, using receding or approaching planes
of colour. Tonal contrast enhances the change in the appearance of the physical support,
the canvas itself, by situating contrast also at the perimeter edge of the painting
New York, March 2015
David Rhodes is an artist and critical writer who has contributed frequently to Artforum, ArtCritical and The Brooklyn Rail.
Of the three artists, gesture is most apparent in Sue Kennington’s paintings. It
has become increasingly so in her more recent paintings, where the spontaneity of
gesture sublimates a progressively less regular and angular composition. The overlapping
planes and quality of light radiating from the chosen colours is attached to Kennington’s
experience of place, both her current location and that remembered, and is a constant
theme of absence and presence, represented abstractly. In shapes and in line, topographies
and local colour are recalled, during a process that remains open to pictorial invention
and intuitive speculation. Gift (2015) suggests geometry as a now-
Sharon Hall’s paintings find complexity through colour rather than form, which is
to say that a deliberately transparent permutation of geometric form becomes a context
for the subtle shifts in colour relationships, which can be further explored as the
paintings comprise more than one interchangeable panel. The resolved state of a complete
painting is, in Hall’s words, “found” through trial and error -
Sharon Hall, In Part Stacked Painting (Green, orange, Yellow, White) 2014
Sue Kennington, The Addict, 2014
Left: Sue Kennington, centre: Caroline de Lannoy, right: Sharon Hall
Caroline de Lannoy, Gravitational Movement, 2015
Sue Kennington lives, works and exhibits in London and Italy. She studied at Goldsmiths College and Chelsea School of Art. Recent exhibitions include ‘Sue Kennington at Magazzini dell’Arte Contemporanea’ in Sicily, and ‘Colour and Otherness’ at Grace Teshima Gallery in Paris. She recently completed a residency at VSC in Vermont, USA. From 2011 to 2013 she was Professor of Painting at the Siena Art Institute in Italy.
Caroline de Lannoy lives and works in London. She studied at the Athens School of Fine Arts, Central St Martins College of Art and the Slade School of Fine Art. She is a lecturer at the Slade, Central St Martin’s and West Dean College. She has exhibited in museums and galleries throughout the world, and has recently been an artist in residence at the Josef & Anni Albers Foundation.
Sharon Hall was born in Darlington, Co. Durham. She studied at Brighton Polytechnic, Lanchester Polytechnic and the Slade School of Fine Art. She has won numerous awards, including the Rome Award in Painting at the British School in Rome. She recently exhibited in the group exhibition ‘Colour Boundary’ at Gallery North, Newcastle, and held a solo show ‘Colour in Place’ at Palazzo del Podesta, Pescia, Italy, in 2013.
©Copyright Patrick Morrissey and Clive Hancock All rights reserved.