Liz Coats ‘some paintings’ 5 - 26 May, 2018
Fishing Like all my experiments with colour, these paintings have grown in the engagement with disparate colour fragments and how they might settle into chromatic balance, a condition that is always provisional. Choosing raw linen with its particular receptivity has acted as an intermediary for liquid colour spreads through both sides of the fabric. It seems that when an interlacing of colours appears dimensionally active, this can function as a feedback loop into the nature of seeing. I like Josef Albers’ description of working with colours in a painting. He knew that colour exists relative to the moment when it is seen, comparing himself to a fisherman who pulls up his net every hour to see what’s in it! L.C
Fishing 15, 2017, acrylic pigments on linen, 76 x 86 cm
Fishing 2, 2017, acrylic pigments on linen, 76 x 86 cm
Fishing 7, 2017, acrylic pigments on linen, 89 x 108 cm
Fishing 8, 2017, acrylic pigments on linen, 76 x 86 cm
Fishing 9, 2017, acrylic pigments on linen, 89 x 105 cm
Fishing 11, 2017, acrylic pigments on linen, 74 x 86 cm
Fishing 10, 2017, acrylic pigments on linen, 88 x 107 cm
Fishing 14, 2017, acrylic pigments on linen, 87 x 106 cm
Fishing 13, 2017, acrylic pigments on linen, 89 x 105 cm
Plenitude, 2013, acrylic media on canvas, 5 panels, 86 x 74 cm each
Shadow Light a&b., 2015, acrylic media on board, 60 x 50 cm each
Strange Attractors a&b, 2015, acrylic media on board, 60 x 50 cm each
Magnetism #1, 1991, acrylic media on canvas, 144 x 144 cm
Heliotrope, 2005, acrylic media on canvas, 9 panels, 76 x 76 each; 231 x 231 cm overall
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