Page 52 - Studio International - January 1968

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Victor Pasmore Linear motif 1965-7, gravure and oil on panel, 60 x 60 in. Marlborough-Gerson, New York

my deepest respect. Paradox alone is a difficult tive since their accompanying forms are often \,Vhere Pasmore spreads himself too thin is in a
idea to convey in a plastic work, but Pasmore often ambiguous. Pasmore's best work, to my mind, is recent series of experiments with interlocking, free
goes beyond paradox, stating a unity of diverse still in his spare linear vein. Those whitish paint­ forms. They are lifeless, and sit within his box-like
forces that struggle not to be unified. ings in which curving forms are dug out with f ames without affecting the space around them.
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Implicit in Pasmore's work is a metaphorical trembling hands, and in which the sharp blacks The rigour of the black-bar organization of large
approach. He does not attempt to filter his forms command the whole, are the paintings which best spaces is missing here.
to such pure essence that no associations are possi­ express the depth of Pasmore's thought about
ble. On the contrary, his stacatto black bars-his painting. There have been several exhibitions of the work of
hallmark-are almost always associated with I also thought several of the more baffling 'pro­ younger artists associated with the minimalist
music, or at least with a musical vision of the dis­ jective' paintings-those with constructions moving aesthetic. In order to do them justice, the viewer
position of planes. They set the key, or they rather far into the viewer's space-were of deep must first work a psychological transformation in
modulate the whole in what can only be called a interest. In his play with shadow, and the whit himself. He must be prepared for repetition, mono­
musical sequence. continuity of line, despite its emergence in three­ tony and singleness. He must not expect various
The stern, sharp presence of these black bars, dimensional terms, Pasmore engages the mind and impressions. He must be content to see the paintings
rapping the picture to order, is all the more effec- the eye at a profound level. as their makers generally see them: as aesthetic ob-
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