Letter 14: April 17, 2022

It’s been some time since my final letter. It’s this behavior I’ve, I discover it arduous to be self-reflective after I don’t have one thing else to replicate upon. I’ve to be studying a minimum of one ebook, writing about one thing previous and one thing new (by previous, I imply one thing unfinished, and thus progressively tough; and by new, I imply one thing recent and subsequently hopeful). Then, when my mind has room to maneuver, to wander, I can take into consideration what considering means. Although I haven’t gotten again into the behavior of strolling by artwork galleries and the assorted neighborhoods that home them, I nonetheless see the work on-line and would suggest it. I’d additionally prefer to have a dialog about these artists in case you’re so inclined. Right here’s the primary one.

I’ve adopted the work of Maureen McQuillan for years. She’s at the moment having a solo exhibition known as “Two Methods About it” at McKenzie Fine Art (55 Orchard Road), on view till Might eighth. Her work have remained constant over time with little tweaks every now and then. They resemble what I think about a microwave or radio-wave seems to be like, with the coloured types rising out of a mottled darkness. Her new work has her going two other ways. One is the usual kind, utilizing numerous chiaroscuro, and the opposite has the types flaring out extensively, like radioactive flower petals, interspersed with these darkish bars that impose a strong and constricted vitality. The 2 share the identical area, altering it endlessly. I’ve all the time discovered it opaque and emotionless regardless of a reflective chromatic attraction.

Untitled (TW/VTYO/PM), 2021. Ink and acrylic polymers on wooden panel, 15 1/2 x 15 inches

Untitled (TW/Y/3B), 2020. Ink and acrylic polymers on wooden panel, 10 x 10 inches

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