The Kingdom Is Divided Inch by Bloody Inch
Three separate surfaces are used to compose this intricate abstraction. A Plexiglass square used on both its front and back sides leaves enough open areas for a backing board to create behind them a deep atmospheric space. In most instances abstractions deliberately avoid creating spatial depth, here deep space is celebrated as the natural necessary component it is.
Our front surface has the painted bright yellow triangle—lower left quadrant, while two smaller triangles, with the darker values of yellow, use the upper right quadrant. The dominant blue and red triangles, and the yellow and black half-circles, just above centre, are painted on the inner side, while a backing board spray-painted in muted greys, blues, and pale corals also carries the pasted down orange triangle and orange half-circle visible through the translucencies of the Queen and King triangles.
Qualities of paint and pigments range from absolutely opaque to the most delicate translucencies both in sprays and fluids. Plexiglass brings an incredible luminosity/numinosity to colour not available when painted on canvas or board. Geometric edges ride/soar/float against/over/under free-reign, free-flow forms. And the other complex dialogue about abstract spatial perceptions, and its advancing, recessional colours/tones, and between positive/negative forms is royally maxed out.
While these dynamic elements were being brought into a worthy balance my mind couldn’t resist romanticizing them as a levitating Red Queen and her foot-loose Blue King parting company and beginning to divide their quantum world spoils.
fillière 