Page 28 - Studio International - May June 1975

Variable Screw, 1971 Variable Screw, 1967
Collection Didsbury College, Manchester Collection University of East Anglia

new method of working operates can spectator to a visual and imaginative the quality varies, some are better than
be most clearly seen in the book of participation, so the constraint of these others. But there is a high proportion of
drawings which Martin published last elements into two dimensions on the successes. Because of the nature of the
year (Chance and Order: Drawings by surface of painting, drawing or print, series as series and the procedure by
Kenneth Martin, Introduction by demands an optical involvement which which they are arrived at, the
Andrew Forge. Notes by Hilary Lane. pulls the sympathetic spectator into a possibilities of different permutations are
Waddington Galleries. £2). The method powerful mental engagement. The enormous. And the spectator, as he
demonstrated and explained here forms configurations of lines create a strong looks at what has already been done, can
the basis for the whole series of prints tension through their contiguity with create new permutations in his own
and paintings derived from the each other and with the four borders of mind, thus imaginatively outstripping
drawings. The format is a grid of squares, canvas or paper which rivet the eye and the artist in his own performance.
initially sixteen squares, four by four, invade the spaces between sight and Like Albers, Martin arrived at his
but later expanded to up to eight by thought. In the paintings the paint is not series late in life. And his paintings are
eight (64 squares). The points of applied precisely, no masking tape or marked by a serenity, an invitation to
intersection of these squares are such aids are used. The lines are laid in active contemplation allied to the energy
numbered. In the case of the sixteen layer by layer in dense colour and of accumulated experience which
squares (four by four) this produces simultaneously the white background in separates such mature works from the
twenty-five numbers at the intersection which they lie is built up with paintings of younger artists. Martin's
points. The numbers are written on thickness of rich white paints so that the personal development has been slow,
cards and drawn in random sequence. forms arrived at precisely by means of patient, without short cuts. He worked
The sequence is then written down and deliberate chance decisions on an through a long series of constructed
contiguous pairs of numbers joined ordered structure are given a clothing of three-dimensional work before
up on the grid, producing a configuration colour that is intuitively handled. In painting once more began to occupy an
of lines arrived at by chance within a this quality of hand-painting, of the important place in his work. Talking
set of limited, although quite large deliberate avoidance of a too anonymous about himself in a Third Programme
possibilities. The sequence of drawings application of paint, and in the interview with Andrew Forge in
produced in this way gives the forms and development of a series of changes based October 1962 he said:
format for the prints and paintings. But on identical or similar elements, they `The main thing to understand is that
here a new element of choice enters, in are reminiscent of Josef Albers's I've worked from ignorance. I don't
that Martin decides which drawings to Homage to the Square. Like Albers's know things. I probably don't know
turn into paintings or prints and which paintings, Chance and Order create very things when everybody else does.
not to. Although the method by which different sensations and emotions from You know, I'm the real Englishman
they are arrived at may be different, limited and carefully controlled means. that Eartha Kitt says needs time.'
these recent two-dimensional works are Whereas in Albers's work it is the But that ignorance was more an unusual
made according to the same process of `interaction of colour' which is the ability to empty the mind of
constructing by building up individual intuitive or mysterious element which preconceptions and work from first
elements as his screw mobiles and cannot be precisely calculated, with principles, gradually discovering what
constructions. And just as placing small Martin's paintings it is the element of was important and what was not. And
three-dimensional pieces in perspex chance. There are twenty paintings in fortunately Kenneth Martin has
boxes paradoxically helped to force the the series Chance and Order. Naturally had time. •
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