Page 24 - Studio International - March April 1975

1. Red 1974.
8 ft x 6 ft x4 in.
2. Descending
Whitechapel screen 1973
3. Descending screen
4. Purple 1974
8 ft x 6 ft x 4 in.
5. Colour detail of No 4
6. Orange/Green/Silver on
white 1963.
6 ft x 5 ft x 4 in.

skill with which Meneeley relates in the pictures, the linear screens can sculpture are mixed; for example, the
colours, there is a further fascination in activate large areas, as two of them did surface of colour acts against the deep
the manner in which he juggles the very when they were exhibited in the large stretcher, which removes the picture
terms of painting and sculpture, the upstairs room of the Whitechapel Art plane from the wall and projects it into
`opticality' of the one as against the Gallery in 1973. This has prompted actual space. Irregular stained areas are
`tactility' of the other. If the fusion of the Meneeley to think of introducing his juxtaposed against colour-field, but now
two can be considered a problem — and it work into public and architectural sites, the uneven painting is subtly nuanced
is a widely held notion that they are and he may soon have the opportunity and is confined primarily to the stretcher
incompatible — then Meneeley's to do so. edges, that part of the work which
solution is particularly elegant, since he Recently, Meneeley began a new establishes its objectness (and where it is
makes colour a property of painting and series of colour abstractions or, more least expected). Further, more like
the physical support of the colour (the accurately, paintings in relief. In each, a sculpture than painting, the work
tangible stretched canvas) a property of field of a single colour is framed by bands compels the viewer to move in space and
sculpture — giving each its own, as it and strips of different widths and colours time from one side to the other to see it all.
were. which run along the borders of the Meneeley has discovered his artistic
When viewed in actual space, the picture surface and over the edges on to identity in the realm between painting
screen-like sculpture functions in the four-inch deep stretchers. The use of and sculpture. His desire to bridge two-
much the same way as the vertical bands the deep stretcher permits Meneeley to and three-dimensions has presented
in the painting, the environment extend in a different format the ideas him with ever fresh challenges,
replacing the colour-field as the ground which shaped his previous work. As in enabling him to exercise his abundant
for drawing. Moreover, like the bands the screens, elements of painting and inventiveness and artistry.