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Recent work offers an interpretation of the in-between, using a
dialogue between in control or out of control. Keeping faith in
materiality. Poured enamel touches matt rolled acrylic. The eye
moves across the divisions of colour, exploiting the visual problem
of focusing simultaneously on converging tonally dazzling colour,
whilst elongating and compressing the composition, allowing intuitive
events to collide in a frontal approach.
The focus is on both an inside and outside space,pushing colour
into luminous states of spatialisation and ambiguity.
Activation of memory, genetic, collective or individual are key
to the paintings phenomenology.Shifts in scale both micro and macro
allow a psychological and retinal stimuli for the spectator.
Each painting can be layered with acrylic, enamel, oil. Each area
is often applied with a different brush or roller , or poured to
allow chance. The physical and plastic qualities of the painting
highlight the in- between and object quality of the work; the colour
and detail drawing you in to the surface facture.
"The
free-hand of the drawing, the layering of the painting, the contained
release of the vertical bands of paint in contrast to the open field
of disbursed paint, and most of all the exactness of the colour
relationships, create a depth of field that is seen through the
surface of the 'painting'. There is a sense that a shadow or ghost
of some thing or object is in the painting, not lying behind, not
pushing to find a figurative form, but more as a signifier for the
act of the hand."
Peter Ashton
Jones on Laurence Noga's Deep Pink Filtered Silver and Sap Green
Filtered Silver
© Laurence Noga 2012
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