Abstract Critical

David Sweet on Fiona Rae

“In painting you can’t have parts without wholes. Provision has to be made to organise small and medium-scale components, however sourced and individuated, within some bigger scheme. Rae’s past work often featured a strong basic geometry, involving highly complex divisions and inflections of the pictorial field, which dominate the final result. In the Leeds paintings however, iconography and calligraphy seem to have won out over geometry. Instead of an active pictorial field there is a rather inert acrylic ground in most of the pictures, serving in the office of a foundation plane, physically supporting the subsequent events but seeming not to be making much of a contribution to the proceedings.”

Read the whole article HERE