Page 51 - Studio International - September 1967

ship to the volume of air that surrounds them. I
Gillian Wise Linear construction no. 1 open path 1967
engraved vinyl laminate, 25 x 25 in.
found the total effect a little forced.
Meanwhile, at the KASMIN GALLERY, Bernard
Cohen showed what was probably the toughest
exhibition that London has seen for some time.
Large white canvases have coloured spots placed
near one edge—these spots are more or less blurred.
In each picture, only one of these marks will be
entirely and thoroughly clear. It turned out that,
instead of being as wilful as they appeared to be at
first sight, these were strictly logical and pro-
grammatic paintings. Each canvas had been
covered with a given number of coats of white
paint—up to sixteen layers. As each layer was
painted the artist placed one spot on it. This was,
of course, covered over by the next coat, but it
continued to show through to a greater or less
degree. One spot is always clear, because this is
the one which marks the final coat, the others sink
back and back until, by the time the ninth or
tenth is reached, only the eye of faith can see
them. In fact, the paintings are not 'works of art'
in the usual sense at all, but affidavits. They
point out to us that a certain course of action has
been pursued; they ask us to assume that this
Alfred Dunn Quiet noises 1967
mild steel and electricity, 36 x 36 x 18 in.
Gillian Wise, who gave up art studies when she tend to have surfaces that do not assert the plane,
became interested in the 'constructive idea' and has whose reflective qualities allow the eye to penetrate
since participated in British constructive exhibitions, and remain in a state of flux. The dense plastics
has her first one-man show at the Axiom Gallery this such as vinyl sheet throw the eye off and intensify
September. Here she describes her recent works: the border, whereas the rubber which also falls
'The majority of works shown are orthogonal into the same category is less bland and more
composition, i.e. based on the horizontal/vertical. absorbent of light.
There are several sets of a series of three works 'The works can be described as a number of
where a single theme is handled in alternative ways materials and colours, each having a different
and where comparative qualities can take on an quality, which are placed in very simple communi-
extra over-printing effect on perception. The chief cated relationships of quantity. The possibility of
unit is the square used in relief and the depth of describing and making comparisons by slight
projection varies between a fraction of an inch to variations of the areas used is made precise and
six inches (the largest work is 32 in. square). the relationship between series of works can be
A number of different ways of structuring the more clearly seen.
square are used. These chiefly fall into, sub-dividing 'The colour used is simply what was possible and
the square into other squares (4, 9, 16, 25, etc.), available in the limited range of industrial plastics
placing two squares side by side on a rectangular and with the metal, the colour range provided in
base, embedding one in the other, overlaying, anodised aluminium by a small firm of anodisers.
stacked one above the other or being used to The colour is only used to emphasize and articulate
describe cubic volume. Apart from its aesthetic certain works, but while the limitation of the square
quality as a pure symmetrical form the square has based formats is deliberately chosen from a large
particular advantages in construction, for example: number of possibilities, the colour has to be taken
1. It is well defined and understood as an inde- from a small number of available combinations.
pendent structure, both singly and in assembly. 'In this sense the works require a somewhat
2. It is a space-filling regular unit in two and three detached view from the spectator, since they can't
dimensions (cube). claim to be definitive or essential in the expression
3. It is amenable to numerical calculation and of a concept, but if anything to suggest than an
enlargement. infinite range of ideas can be implied from a very
4. Its form implies expansion rather than limited type of combination, and that a fundamental
enclosure, as compared with a circle for instance. and well-worn basic form like the square does not
'The materials used fall into two categories exhaust its expressiveness in any one ism but
visually, the absorbent and the non-absorbent. The remains a neutral tool to be used as a means or an
transparent plastic and polished aluminium sheet end in the work of art.'