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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. 

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.

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.

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