KORES, 1980

Contrasting layers of colour brush marks were applied within a grid of eight-by-eight squares. Slight overlaps of colour marks at the edges of the squares expose the divisions. Each spread of colour was completed at one sitting without correction or adjustment. A contrasting set of colour layers in the central four squares continues the structural integrity of the whole, while strengthening the depth dimension for optimum viewing. 

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If colour marks and their spacing are linked consistently throughout construction, the viewing experience can be shared as a direct, sensory engagement. When I placed one of these paintings on the wall and stepped back to assess balance through the density of colours, I could sense subtle adjustments spreading through my body.

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Standing in front of archaic kore and kouros marble figures in Greece in 1979, I was intrigued by the sculptors’ ability to express vitality with a minimum of surface detail. A beauty that reveals the artists’ understanding of whole-body balance in life.