Page 41 - Studio International - March 1972

wasn't really aware of the potential of the
technique. I was using it then for laying down a
colour field with as much density as I could
bring to bear. I didn't appreciate that it had
this value regarding phenomena : the way it is
affected by light and the way it can produce a
confusing surface.
But having established the technique of
combing the paint I wanted it to exist in its own
right. I did one rectangular picture where the
striations were combed in a single direction
STUDY (UNTITLED) 1971-72 and another
which employed a series of directions, which
again were defined by a numerical division of
the canvas which was parabolic in nature. The
starting point was the technique and the
numerical sequence placed the technique within
one's oeuvre. For myself I think I've established
another area of pure formal consideration in
this piece.
The 'Art Spectrum' piece (TRACE 1971)
was my furthest engagement with an
environment and a specific situation. The
structure was as retinal as I could make an image was projected and therefore one didn't 4 RCHOICEJ
JSTATESR 1969
essentially sculptural object. I wanted to involve draw stylistically, one drew very generally and Photograph, aluminium, Transpaseal, Kodatrace
in painting all the things I had been engaged in, tonally, more or less without emphasis. It 102 X 204 X SI in.
but with materials which were expansive and seemed an absurdity almost, bringing something
large. I employed reflective surfaces; the which was engaged in formal, almost ascetic 5 123456...A 1970
(from IMPROVED REPRODUCTIONS)
framework was based on my studio values up against the mere imposition of a Aquatrec on cotton duck, resin, aluminium
environment—the 300 or 35o slides that were photograph. But as a result one has achieved an 52 x 100 in.
shown as part of the piece were views of my engagement which is rather ambiguous and has a Richard Feigen Gallery
studio in Leeds; the basic unit of the piece strange reference. I thought at first of Vuillard, 6 123456...B 1970
was the table I always use for benchwork. how he painted on cardboard and because of the (from IMPROVED REPRODUCTIONS)
It was loaded in terms of reference and wasn't deadening nature about the card things ceased Resin, fibreglass
42 x 84 x 4 in.
thought out enough formally. I was consciously to work spatially. I think one gets a record of Tate Gallery
experimenting and I'm very suspicious of getting incident rather than a description of things
engaged in that activity. I don't think this spatial. A sensation of space can only be felt once 7 UNTITLED (STUDY) 1971-72
Crayon, resin, fibreglass
succeeded ultimately, except that it provided me the line and the incident is assimilated, because 42 X 102 X loin.
with a useful source. of the very assertive nature of the surface. There
The recent work returns to the idea of is a very positive density to the painting, but at 8 TRACE 1971
Slides, projectors, Kodatrace, wood
presenting subject matter which is explicit in the same time it is immaterial.
itself; in that it's very straight drawing, and by
simple means disrupting it as far as one possibly
can whilst making a strict, formal positive
identity of format, and establishing a format
which has the property of altering the subject-
matter sufficiently for it to become
unrecognizable. Drawings of the 'Spectrum'
installation piece are introduced into a sheet of
fibreglass. The pieces are very assertive in terms
of their form, and what is superimposed is also
assertive in terms of its imagery. The nature of
the form is that at a certain point it superimposes
itself on itself. By folding the drawing in half;
it being transparent, half will be seen to be
inverted. Although the drawing is very definite
it takes some time to grasp what it is about.
In STUDY (UNTITLED) the colour of the
ground was dictated by my requirement that it
should refer to the material of the table in the
`Spectrum' piece. In that respect it lost its
identity as paint. For a long time I decided it
would simply exist in its own abstract right;
the concept of drawing over a very awkward
surface and seeing what does register occurred
to me at a later date. I rather wanted to indulge
in that drawn thing, that sketched thing. The