Comments on: Matthew Collings Talks to Gary Wragg http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/ 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 http://wordpress.org/?v=3.9.2 By: Robin Greenwood http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-871815 Tue, 16 Sep 2014 13:29:49 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-871815 Interesting comment.

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By: Simon Bill http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-862691 Sat, 13 Sep 2014 09:48:07 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-862691 I’ve come very late to this discussion – possibly too late. But, for what it’s now worth, I would like to add that I think one reason Gary Wragg is important now is that he’s a genuine improviser. He paints every time as if he’s forgotten how to do it. This accounts for the variable quality, and the terrific freshness of the successful ones. Also this variability can have surprising effects on your own taste. The ones I thought weren’t successful can look successful later on. It’s actual creativity.

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By: Robin Greenwood http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-530750 Wed, 07 May 2014 12:56:43 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-530750 That is quite a prospect, and we might agree that a thing can reach some kind of facile wholeness far too easily, and that the reconcilliation of differences is healthy. Obviously you have the advantage in having seen the original, but from reproduction the drawing of the spiral looks just too isolated, uninfluenced by the other parts of the painting. But if what you are suggesting is real, and they do in some way work together, then, yes, it would be exciting. But maybe it is possible too that you make a fetish out of the parts being SO difficult to reconcile?

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By: Sam http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-529833 Wed, 07 May 2014 05:08:42 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-529833 * From memory the contrast in mood between the flattened loops of the spiral and the shattered shape on the one hand and the quiet fading parallel lines on the right on the other was particularly exciting.

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By: Sam http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-529831 Wed, 07 May 2014 05:07:47 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-529831 To Evan, Robin,
Morning Night was one of the first paintings when I think I really began to get Gary’s work, though it didn’t happen very quickly. It is still one of my favourites. It doesn’t need to be excused on grounds of age. The triptych type format is a dominant feature but not as overbearing as in the photographs (I haven’t seen it in a while, but the only ‘problem’ I had with it involved the yellow splashes of paint across the middle – which Gary has used to greater effect since). The best bit – much more importantly – is the right-hand side with its multiple layers put on top of each other. This is a very different type of layering to normally active in his painting – it reminded me of Braque’s great Studio pictures, though Gary is not a fan. I love the way it is so difficult to make the different elements make sense in relation to each other, yet it still remains forceful. From memory the contrast in mood between the flattened loops of the spiral, the shattered shape on the one hand and the quiet fading parallel lines on the right on the other was particularly exciting. It is almost a disappointment that there is nothing quite like this anywhere else in his work – though I imagine it was something made instinctively and would be difficult to keep fresh if too premeditated. The slit in the middle of the painting (almost literally a window) is also something. I don’t want to say much more as I would just be describing the jpeg.

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By: Evan Steenson http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-524800 Mon, 05 May 2014 12:26:04 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-524800 Robin, agree with you on the quality concerns, particularly “Morning Night.” The triptych that wasn’t? Would have been better as a series of three canvasses in my view. Rather extreme horizontality divided into three zones…was Wragg on about chronology and the passage of time? Perhaps I’m projecting again. In all fairness to Gary though, that beast is older than me.

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By: Noela http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-511043 Tue, 29 Apr 2014 08:56:23 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-511043 I imagine, (haven’t seen the paintings yet, hope to tomorrow) the layering is about getting in the studio , assessing the work, not being happy and attacking it with more paint. Sometimes it works , sometimes it doesn’t. It seems that Wragg does not have a final outcome in his head before he starts working.

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By: Patrick Jones http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-509754 Mon, 28 Apr 2014 22:13:55 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-509754 Dear Terry,You have my feeling about layering to a tee,that is the time element doesnt work for me .Apparently Miro added black painted eyes to his extraordinary self portrait with stars in his eyes,30 years after the first work,which was already a masterpiece.That takes true mastery ,otherwise it looks like a bolt -on.Rothko and Bomberg couldnt use this approach either.

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By: Robin Greenwood http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-509746 Mon, 28 Apr 2014 22:11:03 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-509746 Though I’m now on record as having been won over to Gary’s work, my doubts about the quality of some of it returns with this selection of images. Although I think “Rue Gambetta II” is very good, and has something original about the spaces in it and some measure of coherence, some of the other work here is in my opinion rather poor. Perhaps the worst is “Morning Night”. I know it’s an old painting, but how is that supposed to hold together? “Chi XX” also looks a crude, underworked idea. No amount of philosophy will carry that for me.

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By: jenny meehan http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-509134 Mon, 28 Apr 2014 17:21:31 +0000 http://abstractcritical.com/?post_type=note&p=8089#comment-509134 You don’t get this kind of structuring with bombs… Well, the ones I have thrown around recently… (smile)

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