Comments on: Bad Infinity Abstract Critical is a not-for profit company aiming to establish a new critical context for all generations of artists involved with ambitious abstract art. Sun, 09 Nov 2014 17:23:33 +0000 hourly 1 By: Sam Cornish Tue, 25 Oct 2011 22:03:41 +0000 I thought this was a carefully considered piece of writing and one that accompanied a very skillfully curated show. Yet both (separately and in conjunction) left me basically unsatisfied. The suggestion of the ‘tantalizingly unreachable’ too often seemed to be more a plausible apology than a telling description. It acts to excuse work which simply failed to deliver anything very much at all, beyond a thin poetry, faint absurdity and hopelessness or the barest scuffing into existence. Though the exhibition undeniably looks very good indeed this seemed almost entirely dependent on the placement of the works, rather than the works themselves.

The one thing (and I think that ‘thing’ is a very accurate description of it) which stood out for me was Richard Clement’s Javelin. This was perhaps because, rather than pointing to the invisible beyond, Javelin was a stubborn presence, despite its small size. The important aspect of it was not that its two slopes slide away from each other and toward the infinite but rather that the way in which they join creates an illusion that rests firmly within the material. Rather than hanging our hopes on ambiguities we are not quite sure if we can see, would not a more satisfying abstraction involve consideration of ambiguities that are more present than absent? Though slight and somewhat cold it seems to me that this is the direction which Javelin points in.